■t ? h 




Z734 



PRICE 1^ CENTS, 



DE WITT'S ACTING- PLAYS 



(Number 195.) 




ROSEMI SHELL. 



A TRAVESTY, 



FOUNDED ON THE MACKAYE-BEUM MELODEAMA OF THE UNION 

SQUARE THEATRE, NEW YORK, " ROSE MICHEL " (PEAYED 

DURING THE SEASON OF 1875 AND 1876.) 



By SYDNEY ROSENFELD, 

Author of " Off the Stage," " Mr. X," " Sweet Sixteen" " Success" (founded on 

Paul Lindau's ' ; Ein Erfolg "), etc. ; and Adapter of " Money and Brains " 

(De Wilt's " Ultimo"), " High C." " On Bread and Water," etc., etc. 



TO WHICH ARE ADDED, 

A description of the Costumes— Synopsis of the Piece— Cast of the Characters 

— Entrances and. Exits— Relative Positions of the Performers op. 

the Stage, and the whole of the Stage Business. 



»N. 



Author's -Editio: 
ALL ACTING RIGHTS RESERVED. 



SPECIAL NOTICE.— This play is published for the author; by whom it has 
been copyrighted. No parties are privileged to perform it without the author's consent. 




|T t to - 2 r R : 
ROBERT M. DE WITT, PUBLISHER 
"~(A W No - 3 3 Hose Street 




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3. 
S. 



14. 
16. 

SO. 

at. 

S3. 
S5. 
S6. 
31. 
33. 
35. 
3?. 

39. 

41. 
43. 
45. 
4-7. 
49. 



Composer. 

Lover's Lett*r-Box Wrighton. 

Thy Voice is Near Wrighton. 

Blue-Eyed Violets Jackson. 

The Maiden and Her Llaaet. 

Montgomery. 

Soft Dew is Sleeping Barker. 

When the Roses Blow Allen. 

Beautiful Bells Coote. 

The Mother's Dream Sullivan. 

My Spirit Star Young. 

Little Maggie May Blamphin. 

The Vagabond Molloy. 

My Heart is O'er the Sea. .Clarlbel. 

Maggie's Welcome Clarlbel. 

Dreaming of Nellie Hogett. 

Five O'Clock in the Morning, 

Claribel. 

She Came and Vanished Like a 

Dream Boucher. 

Meet Me in the Lane Blamphin. 

Tapping at the Garden Gate. 

Sleeping on Guard Wrighton. 

Summer Dew Barker. 

Oh. My Lost Love Plumpton. 



No. Compoter. 

51. Far Away Blisa. 

55. Jess Macfarlane Tucker. 

ST. Yes, I'll Meet Thee, Dearest. 

Blamphin. 

59. flattie Bell Webater. 

Ol. Whisper «« Yes," or "No," Love. 

" Adele." 

6«. Her Bright Smile Haunts Mo 

Still Wrighton. 

63. Oh. Cast that Shadow from Thy 

Brow Tucker. 

64. Love I¥ot Blockley. 

65. She Wore a Wreath of Roses. 

Knight. 
"JO. Pretty Little Dark Eyes Parker. 

75. When we went a Gleaning. 

Ganz. 
74. Mary of Argyle Nelson. 

VS. What Did Little Birdie Say? 

Balfe. 

76. Sing, Birdie, Sing Ganz. 

78. Spring-Time of Life Jackaon. 

79. Nightingale's Trill Ganz. 







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fiOSEMI SHELL ; 



OK, 



MY DAUGHTER ! OH ! MY DAUGHTER. 



A NEW AND ORIGINAL EMOTIONAL, SENSATIONAL, GROTESQUE, INCIDENT AL, 
TRAGICAL, MAGICAL, FARCICAL, MUSICAL, CONTEMPORANEOUSLY NON- 
SENSICAL : ' WHAT YOU MAY NAME IT ;" EXECUTED WITH MAL- 
ICE AFORETHOUGHT, AND BASELY BASED UPON THE STEELE- 
BLUM MELODRAMATIC SUCCESS OF UNION SQUARE. 

/ 
By SYDNEY ROSENFELD, 

Author of " Off the Stage," " Mr. X," " Sweet Sixteen," " Success " {founded on Paul 

LindaiCs li Ein Erf dig "), etc. ; and Adapter of *' Money and Brains" {De 

Witt's " Ultimo"), "High C." " On Bread and Water," etc., etc. 



AS FIRST PERFORMED AT THE EAGLE THEATRE, NEW YORK, 

JANUARY, 1876. 



TO WHICH ARE ADDED, 

A DESCRIPTION OF THE COSTUMES CAST OF THE CHARACTERS — SYNOP- 
SIS OF THE PIECE ENTRANCES AND EXITS RELATIVE POSI- 
TIONS OF THE PERFORMERS ON THE STAGE, AND THE 
WHOLE OF THE STAGE BUSINESS. 



^uthor's Edition. 



ALL ACTING RIGHTS RESERVED. 



SPECIAL NOTICE —Parties wishing to produce this travesty are particularly in- 
formed that it is necessary to obtain the author's consent. 




NEW YORK: 
ROBERT M, DE WITT, PUBLISHER, 

No. 33 Rose Street. 

(BETWEEN DUANE AND FRANKFORT STREETS.) 



Copyright, 1876, by Sydney Rosenfeld. 

ft 



7h 



/iA 



2 K0SE1II SHELL. ^ \ A 

THE DISTINGUISHED ARTIST AND MANAGER, 

MATT MORGAN, 

TO WHOSE GENEROUS FRIENDSHIP I OWE THE FIRST INTRODUCTION OF MY 

PLAY TO THE THEATRE 

WHERE ITS MERIT WAS RECOGNIZED, I GRATEFULLY DEDICATE THIS TRAVESTY, 

WITH MANY AND SINCERE WELL-WISHES. 

SYDNEY ROSEN FELD. 

SOLID CAST OF CHARACTERS. 
{Cast Iron-ically.) 

As performed at the Eagle TJieatre, 
New York, Jan., 1876. 

Count de Ferny (the necessary Thome to every Rose; a gal- 
lant mister, but a victim to Ey-Linge of cruel mystery) .. ,Mx, Larky Tooley. 
Baron de Bestfille (a roue, who gets his best Jilte of life be- 
fore the play begins, but has cause to roue H before it is 

over) Mr. Jas. F. Crossen. 

Baron de Morris-and-Essex {Prefect of the Seine, perfectly 

inseine, who gets himself into a Parselle of difficulties by 

managing too many stages at once) Mr. James Bradley. 

Piermi Shell (a miserly barkeeper, a fearful scamp ; in fact, 

as you will find ou f if you stay in long enough and live 

to see it, a villain of the deepest die) Mr. G. H. Macdermott. 

Mule-in-Hay, with a cold in the head (his servant, called 

the Sneezer, because that's Sneezer way to cull him) Mr. John "Wild. 

Andrew (a nice little fellow for a cent, very fond of "spoon," 

but not of the bitter dose that often comes with it) Miss Louise Franklin. 

Baroness de Bestfille (supposed to be married to the Baron, 

and retired from the humdrum of life, though vjhyf 

she's the Baron's wife she shouldn't live with him is a 

con-humdrum) Miss Marie Gorenflo. 

liosemi Shell (the wife of a husband and the mother of a 

daughter, who suffers with violent emotion and the new 

DJsarle system — though the last is a noodle sort of 

system to suffer with and enough to Mackaye man 

swear) Mr. G. Eh Fortescue. 

Susie (the daughter, oh, the daughter, who clings to her 

lover with wu-Varian devotion) Miss Millie Cooke. 

Supers, White Guards and Black Guards. 



S£2T SPECIAL NOTICE.— This burlesque has been copyrighted by the author, Mr. 
Sydney Rosenfeld Partif.s desirous of producing it will take particular notice that 
it is first necessary to obtain the auUtor's consent. R. M. De Witt, Publisher, 33 Rose 
street, New York. 



t%r Z^SZd 



KUSKMI bili.LL. 



SCENERY. 



Scene J. —Local -street scene in 2d grooves. 

Scene //.—Kitchen — full set. Practicable staircase in the rear. Arched entrance 
. u. e. Practicable steps leading up to door l. Door it. 



I I _ 

\ I 
Arched 
Entrance. 



Door, 



Stairs, 



Table and Chairs. 



Steps. — Door. 



Scene III. — Handsome drawing-room in 2d grooves. 

Scene IV.— Full set Distant view of Washington from old State Fort. Doors, 
pRic., b. and l. Set row in 3d grooves, representing ramparts of the fori ; view oi 
i/uloniae by moonlight beyond. 



Door. 



Door, 



COSTUMES. 
{Of some Century or other; it may be the eighteenth, wilh a Centennial flavor.) 

Count de Feeny.— Square-cut court «cat, velvet, gold lace; knee breeches, satin; 
silk stockings, and shoes and buckles ; powder or wig ; sword. (Cloak in last 
scene for the escape.) 

Besteille.— Same as above, various coloring to suit. 

Morius-and-Essex.— Knee breeches, satin ; silk stockings ; and upper portion of 
costume and head to resemble Kelso, Chief of Police. 

Piermi Shell. — Square-cut mulberry-colored coat, long and ragged, with a vest, 
square-cut, variegated figured, cotton old flannel bed curtain chintz, and old 
moleskin knee breeches ; gray homespun stockings ; short English gaiters up to 
middle of calf ; slouched hat*, long iron-gray hair, bald on top. Make up cadav- 
erous face. 

Mule-in-Hay.— Full trunks, red ; brown square jacket; shirt rough ; blonde wig; 
slouched hat. Make up white face, red nose, to represent a cold in the head. 

An Dr.r.w— Square-cut plain eloth coat ; knee breeches, with stockings; three cor- 
nered hat. 

Baroness. — Blaek velvet train dress, and bag wig. 

Bosemi Shell —Neat brown French peasant dress, trimmed with black veivet ; 
high black velvet peasant cap, trimmed with brown; red stockings ; shoes and 
buckles ; white fLVtien<2 la Marie Antoinette. 

Susie. -Modern s hool-girl pinafore and short clres.^ ; hair crimped and hanging 
do^n back. 

fupz::.s ■- French Gens d'Armos, with i.irh srulesQue hats. 



ROSEMI SHELL. 



PROPERTIES. 



Swords; prayer-book; letters; pawn-check, and lottery ticket ; huge bag- of gold; 
large dog tied to rope ; cards ; glasses for drinks, and waiter ; poison-powder ; 
daggers ; lump of glue. 



SYNOPSIS, AND AUTHORS PREFACE. 

This play claims to be a travesty of the melodrama, " Rose Michel," as produced 
at the Union Square Theatre, New York, during the season of 1875-'76. As there 
presented it is the joint work of Messrs. Ernest Blum, and James Steele Muekaye. 
To the latter gentleman is due the credit of having eliminated all that was lepul- 
sive in the situations of the original French play. In this burlesque, the plot of the 
Maekaye-Bluin drama is indicated in the absurdly strong light that travesty de- 
mands. The mother's extreme love of and devotion to her daughter, gives this 
parody its second title, ' k My Daughter I Oh, my Daughter V 9 The author has 
attempted, in the brief space allotted him by the theatre tor which his work was 
written, to make his text as pointed and amusing as was consistent with the main 
idea of the plot. The very favorable manner in which " Kosemi Shell" was re- 
ceived by the manager, and the ladies and gentlemen of his company, leads the 
author to hope that his lines in printed form may meet with a fair share of the 
reader's appreciation. No songs have been introduced the words of which do not 
form a portion of the text ; consequently, those that are here published have been 
copyrighted with the rest of the play. The characters of " Roskmi Shell " are of 
almost equal importance. The scenery is local, and is here given as arranged at 
Mr. Josh Hart's beautiful theatre, " The Eagle," under the artistic supervision of 
Matt Morgan. The author begs leave to return thanks to the management for the 
generous manner in which his play was placed on the boards. S. R. 



TIME IN REPRESENTATION-FIFTY MINUTES. 



STAGE DIRECTIONS. 

R. means Right of Stage, facing the Audience ; L. Left ; C. Centre ; R. C. Right 
of Centre ; L. C. Left of Centre. D. F. Door in the Flat, or Scene running across 
the back of the Stage; C. D. F. Centre Door in the Flat ; R. D. F. Right Door in 
the Flat ; L. D. F. Left Door in the Flat ; R. D. Right Door ; L. D. Left Door ; 1 E. 
First Entrance; 2 E. Second Entrance; U. E. Upper Entrance ; 1, 2 or 3 G. First, 
Second or Third Grooves. 

B. R. C. C. L. C. L. 

The reader is supposed to be upon the stage facing the audience. 



EI£F* SPECIAL NOTICE,— This travesty has been copyrigldtd by the author, Mr. 
Sydney Kosenfeld. All acting rights are reserved. Managers desiring to produce 
it should address him, care of the Publisher, R. M. De Witt, 33 Pose st. 



ROSEMI SHELL; 



OR, 



MY DAUGHTER! OH! MY DAUGHTER 



SCENE I. — Street Scene {somewhere on the globe.) 

Enter Baron de Bestfille. He comes tripping jauntily down, and speaks 
most of his lines in a flippant, burlesque manner. 

Bestfille. Aha! oho! likewise ahem ! In yonder 

There dwells the one I love, of whom I'm fonder 
Than of the world and all. Would I could do some 
Bold act to win her back wife of my bosom. 
Wife, did I say ? Alas ! I must repel her, 
For though she's mine, she's got another feller! 
She loves me not because I love too many. 
What folly that is ! why, I'd love not any 
Unless I loved as many as t sought for. 
I'll love all that my money can be bought for. 
But soft ! methinks I heard a gentle voice. 
Perhaps 'tis she — my own, my heart's own choice. 
{looks off, k.) Can she have left her house, me in the lurch 1 
By Jove ! 1 see her coming out of church. 
I'll seek an honest place where I can -hide, 
Where, till the proper moment comes, I'll bide. 
{to audience) When I say how-nest place to bide in, 
I've no allusion to the thought, nest-hidin' ! {he goes up stage to 
the side.) 

Enter Baroness, l. u. e. {slow music). She carries a prayer-booh in front of 
her, and comes musingly down ; speaks very impressively. 

Baroness. Ah, from the mass I nave this moment come, 
And pious words still in my ears do hum ; 
Just let me think now what the preacher said ; 
His thoughts were beautiful — oh, my poor head, 
I can't recall his words ; yet, bliss of blisses, 
I'm sure he spoke of paroxysmal kisses, 
And ah ! the smile that beamed upon his face 
When he discussed the thought, "another's place." 
I do not quite remember how't began, ^ 

But he said something 'bout a better man. 



to UOSKVI s;::ll. 

Bestfille hurries from his hiding-place down to her. She starts. 

Best, (mi extravagant violence). What ! dare you tell me, woman, to 
my face 

That there's a better in your husband's place ? 
Bar. Eh 1 {bewildered) Who are you, strange man 1 begone, and hush. 

You naughty thing, you really make me blush I 
Best. Begone 1 I'll not, nor any other be, 

Until you come and go along with me 1 
Bar With you ! 
Best. Yes, and at once obey ; 

For I'm your husband ; mind now what you say. 
Bar. My husband! mercy, can such things exist] 
Best. They can and do. {he clutches Iter hand.) 
Bar. Oh, stop ; you'll hurt my wrist. 

Best. Come ! I'll wrist-store you to your huggie's arms. 

Come on, sweet creature ; hush your wild alarms. 
Bar. I won't. 
Best. You must ! 

Bak. I woivt, I say I 

Be t. But I say yes, so come. 

Enter, boisterously, Ferny from palace, R. Tie dashes wildly doum, sjn*eads 
out his arms, draws sword, and cries 

Ferns' (burlesque melodrama). Stay l villain I stay I 

Best, (releasing her). Who bids me stay 1 I'll not — my blood is rial 

Bar. (mi Ferny's arms). Is it my darling 1 

Fern, [to her), Of course it is. 

Best. Did you say corset ? ah, that's good for you. 

When you say stay, why, that's a corset too t 
Fern. I have no time for idle jest jest row. 
Best. Then get you gone, and give me back my frow. 
Fern. What do I hear % Speak, woman— art his wife 1 
Bar. 1 art; but I love thee. 
Best, [drawing sword). I'll have thy life. 

Fern. You will 1 Not much, i guess. Lay on, old hoss, 

And damned be he who first cries, '• Let up, boss." (fliey make 
a jew thrusts.) 

Enter Morris- axd-Es sex, r. it. e. 

Morris (up the stage, calls out). Put up your arms f (coming down) Aye, 

and your elbows too. 
Fern, (to Bestfille). Say, stag his nibs. 

r. to Morris). Old Squeezix, who are you I 

Morris. I'm pn feet of the Seine. I'll have no chin j 

Do as I bid you, or I'll run you in. 
Best. What were those words % It sounded very plain, 

As though he said, "I'm perfectly insane'" 
Fern, [to Morris). I'll tell you, prefect, what the trouble is, 

This lady here is 

Best, {interrupting).) Mine ! 

Morris. Yours 1 

Fi rn. ( jceringly). His 1 

Morris to Baroness). Whose wife, good woman, are you anyway ? 

Bi ST. Say mine. 



KOSEMl SHELL. i 

Bar. No longer. 

Morris, {pointing to Ferny). His 1 

Bah. [coyly). I hope — some day. 

Morris. Explain yourself, and stop th' immoral scene, 

And say in Anglo-Saxon whose you mean. 
Bar. Well, then, I am — but no, that's not the thing. 

I cannot speak it; won't you let me sing ! 

SONG. — " Virtuous Though Free '' 
To the air of " Pas Ca 9 " Madame L'Archiduc. 

Oil, folldi-roldi-lorril ! oh, don't think me immoral, 

Although you have a quarrel to learn whose wife t be ; 
The secret of this bother, I'm neither one nor t other, 
Nor sister, wife, nor mother, 

For Love they say is free. 
But ah, you can't, with all your quarrel, 
Prove in court that I'm immoral ; 

For this much I can say flat, 
No protection have I needed, 
For no man has yet succeeded 

Even in obtaining that, (bites her thumb and coquettes tvith audience.) 
Chorus. — Not that ! not that ! etc. (repeat, with thumb business.) 

[Omnes repeal chorus, and exeunt. 

SCENE IT.— Kitchen in Piermi' s house. 

Enter Pibbici — he comes down stealthily to the footlights , then draws him- 
self up, and speaks m tragic tones, with mock imprcssiveness. 

Piermi. My name is Piermi — but know all as well, 
I'm shclldom mentioned other than as shell! 
Although my wife, the madam, i despise her, 
Says I am nothing but a shelfish miser. 
Shellfish! Ha, ha! I bet her silly prate 
Means that I am a little lobs' er-imte 
In paying over cash for dress and sham, 
I hate such idle show, 'taint worth a — straw ; 
But ah, my gold, my precious, precious gold, (goes to trap-door, 

r. 2 e., and lifts out huge bag) 
How many blessings have for thee been sold! 
How many men and women have for thee, 
Sweet precious darling, gold, been sold by me 1 
I've sold them all for thee, thou glittering gold, 
But thou my soul, for all this hast consoled! [lie hugs and hisses 

ths bag in extravagant rapture) 
Thou feast for peasant, prince, and all the nation, 
Hard money, hard to get ! curse to inflation. (Mule-in-Hay 

heard sneezing and coughing, without) 
But some one comes, sweet life and iove, away ! [bag disappears) 

Enter Mule-in-Hay ; sneezes. 

Well, what do you want, you sneezing Mule-in-Hay ? 

Mule's nose is red, he wears aflanne 1 rag tied around- his neck, and bears 
sundry other marks of a cold. He speaks through his nose, soundi g 
bfor m, and dfor n. 



TtOSEMI SHELL. 

Mule. Kind master — (pshciv) now who'd you 'spose 

Has sent me here 1 {sneezes) Wait till I blow by dose, (bloivs 
his nos! to music.) 
Pie :. Speak, speak ! who sent you here, was it your Missis ? (Mule 
shakes h's head) 

Not 1 Then my daughter, (Mule shakes his head) or her lover 1 
(Mule shakes This is 

Getting m motonous ; damn it, boy, speak ! 
Mole. Wait till I stop by dose ; it's got a leak, {business.) 
Pfer. Tell me, you scoundrel — hear me — (ell me, tv/to, sir 1 
Mule. P ease, sir it was — ah some — (sneeze) some foreign snoozer. 
Pier, (aside). A foreigner ! who can it be \ No doubt 

He brings me gold, I'll have the secret out ! 

(aloud, to Mule) Go tell him come, at once. I'll 'wait him here ; 

Bid welcome to the new rome foreigneer ! 
Mule. A, far an near ! much better far than near. 

What business has a foreign snoozer here 1 

Ha ! let a snoozer in 1 No, not for Mike, 

He's got a look about him I don't like ! (sneezes violently.) 
PrER. (enraged ). You wretched sneezer ! what is that to you, sir 1 
Mule, (half aside). I'd rather be a sneezer than a snoozer 1 
Pier Don't dare to argue, you catarrhal wretch, 

But dang it, go, the foreigner to fetch ! 

[Hastens him off, a, then exiis, l. 

Enter Andrew, leading on Susie. 

Andrew. Come on, sweet Susie, darling, laugh and cheer up, 

Be always Susan, love, my Susan-syrup. 
Susie. Yes, darling, well I know what I should be ; 

But oh, my love, I'm thinking sad of thee. 
And. Sad, darling, sad ] Oh, no, that must not be. 
Su^ie. Well, listen, then, my dear, and you shall see, 

My precious Andy, Pandy. Handy, Andy, 

My sweet, delicious stick of sugar candy, 

How oft you've praised my face, and, with caresses, 

Admired all this hair that you called tresses ; 

But, darling, 'tis the thought of my back hair 

That fills my soul with grief, my mind with care, 

For, tell me, will you think me still as fair 

When this here hair will be no longer there; 

In fact, when I have lost these locks, so called, 

Say, " will you love me, darling, when I'm bald % " 

SOXG. 
Ant.—" Will You Love Me when Tm Old? " 

I would ask of you, my darling, 

A question soft and low, 
That gives me many a heart-ache, 

As the moments come and go ; 
I know that now you love me 

With a love that's passion called; 
But this U what I would ask you. 

Will you love mo when I'm bald 7 
Bui this is what I would ask you, 

Will you love mo when Tm bald 1 



liOSEML SHELL. 



CHOUUS. 



We'll soon be gone forever, 

Unto other regions called ; 
But ray heart will know no sadness 

If you'll love me when I'm bald. 

Andrew. Darling, do not ask conundrums, 

I've told you oft before 
Your getting bald will only make 

Love like mine grow more and more ; 
Though each single hair be missing, 

By your head my heart's enthralled, 
Though you have to wear a wig, clear, 

I will love you when you're bald. 
Though you have to wear a wig, dear, 

I will love you when you're bald. 

CHORUS. 

We'll soon be gone forever, 

Unto other regions called ; 
But your heart will know no sadness, 

For I'll love you when you're bald. 

[They walk off, r. 

Enter I&vstyil'lk, followed by Mule, who drays on a monstrous bull-dog, tied 

to a rope. 

Best. Where is the lovely maid ] Send her to me, sir ! 
Mule. I'll see you blowed first, (sneeze) Here catch him, Cresar ! 
Best. Then send her father here that I may court her 
With gold 

Enter, wildly, Rosemt. Music. 

R sis. {tragic attitude). My daughter ! oh. my daughter! 
Blst. Halloa! She's got them bad ; there's something wrong. 

(to Mule) Clear out, you wretch, and take that dog along. 

(pushing) Go, hurry, lazy bones ! go, travel faster ! 

And quickly hither send your Mister Master! 
Rose, (wildly). Where is the one I love ; oh, who has caught her ! 

0, give me back my daughter ! Oh, my daughter ! 
Mule, (tying rope of dog to table-leg). I'll leave this bull-pup here till I 
come back. 

(to dog) If he behaves not well, just sick him, Jack ! [Exit. 
Rose, {still wildly). And have you, villain, hither come and sought 'er ? 

My daughter, darling, darling; oh, my daughter ! 
Best, (aside). She acts as though the roof were falling on her, 

I really think there's something crawling on her ! 

Enter Piermi. 

Ha ! glad to see thee, Piermi ! know the news 1 
To win a fortune, would'st thy daughter lose, 

And let her be my wife 

Pier. Hush ! not so loud — 

Th' old woman's watching! R ( > ; cmi, " blea.se so oucL" 



10 SHiLL. 

Rose, {sty ikes attitude). Base wretches, both, with shame you quiver 
oughter ! 

And would you sell ray daughter 1 Oh, my daughter! 
Brst. No, Madam — sell the damsel ! No! be ca(l,ni! 
Pier, (aside). Egad ! I had much rather sell the dam ! 

But dams they say as well as damsels old, 

Are, so experience shows, damsel clom sold! 
Best. Well, sir ! 
Pie ii. Wife llosemi ! leave the room at once, 

And don't be dancing round here like a dunce, (push'ng her 

Up to L. D.) 

Rose 0, let me throw myself into the water! 

For they would steal my daughter ! 0, my (laughter ! [Exits. 
Pier, {moves table and chairs, c, sees dog). Why, thunderin' lightning! 
what confounded noodle 

Has hitched this table-leg to that 'ere poodle? 

Loosens the rope — exit dog. They are about to seat themselves at table — 
Rosemi sticks her head out through the door, and sings to the chorus 
of " Pull down the Blind. ' 

SONG. 

Don't think I'm blind, don't think I'm blind ! 
Oh, I am not at all one of that kind ; 
Though you are left behind, bear this in mind, 
Some one is looking ! oh., don't think I'm blind ! 

(speaks) " My daughter! oh, my daughter!" (disappears.) 
Pier, (hurries to the door and locks it. They seat themselves Piermi 
draws oat. a pack of cards. Storm is heard it di lance . Let's 
have a game. 

Best. All right, begin 

Pier, (shuffling cards). But say 

Best. How much do you want for her? 

Pier. How much'll you pay? 

Best. I'll give you sixty thousand down in cash ! 

Pier. (Your deal) ! No, no, my boy ; the thing won't wash ! 

No, no ; indeed ! I tell you flat, I shan't ! 
Best. Then dang, it fellow, how much do you want ? 
Pier, [after a pause — he shuffles the cards) One hundred thousand — 

(pause) — here, cut ! 
Best, (jumping up, l. c, in amazement). Shell ! Shell! Shell! You're off 

your nut ! 
Pier. Sneezer! (calling of r., then to Bestfille). What do you want 

to drink 1 
Bel-t. Gin cock-tail with some lemon-peel I think — 

Won't you take less 

Pier. No ; talking is no use ! 

Sneezer, one cock-tail, and one Santa Cruz ! 

Just go to bed, and think the matter over ; 

The girl is cheap, if you do really love her. (they rise) 

Vuu look fatigued, and are so, I presume ; 

I'll have your cock-tail brought up to your room ! 

S > go to bed now, think about the price ; 

t know you will say yes — take my advice 
t. (tjoinp up steps, off l ). I'll think the matter over, and I guess 

To morrow I shall give my answer, "yes." \Rrits. 

Pier. To-morrow! ah, methinks my plan's the way 



EOSEMI SHELL. 11 

Whereby your morrow will be yesterday, 

And you will wish your " yes " had answered been, 

Before the y*s-terday you'd ever seen ! 

Enter Sneezer, with drinks. 

Give me the cock-tail, {pouring in a powder to lightning) Put 

more sugar in — 
'Twill give a better flavor to the gin. 

[Sneezer takes gin into room, returns, and exits. 
Pieu. {takes his drink, then goes to the table and takes out two b>g butcher 
knives). Come, potent daggers, to your wealthy plunder, 
And help me, instruments of blood and thunder ! {music, and 
thunder.) 

Rosemi enters, as he creeps towards door, through secret entrance She fol- 
lows his steps in burlesque imitation, and watches him go into room-- 
then sings. 

SONG.— Don't Think I'm Blind. 

He-enter Piermi ; starts as he sees Rosemi. He holds the red knives alof, 

then drops them. 

Rose. What have you done 1 ! wretch, I saw you ! 

Pier. (Jiercelg). Be silent, woman, or by Jove I'll claw you f {sings.) 

SONG. 

Air. — " Stolen Kisses from Girofle /" 

What do I care for your spying, 

For your chin or for your jaw 1 
Though there can be no denying 

Of the bloody deed you saw ? 

What do J care for your spying, 

What care I for what you saw — 
For your prying, or your lying, 

For your chin or for your jaw ? 

{speaks tragically) Because I dare you, woman, though you 

chose, 
I dare you, double dare you, to expose ! 

Enter Susie and Andrew. 

For there is one who loves me, you have taught her, 
Behold her there ! ( pointing to Suste.) 
Rose, {rushing wildly into her arms). My daughter ! Oh, my daughter ! 

Enter Mule — sneezes. 

Mule. Where is my missis 1 Every where I've sought her ! 
Rose. Oh, oh! my daughter, darling ! oh, my daughter ! 
Pier, {grindingly). Her daughter! she onghter have taught 'er in- 
stead of to prize me 
To sorter, well — onghter — have taught 'er perhaps to despise 
me ! 



12 ROSEMI SIIKLL. 

All sing Chorus. 

What does he care for our spying — 
What does he care what we saw % 

For our prying, or our lying, 
For our chin, or for our jaw 1 

Repeat, then they all dance. Finally, Susie tumbles into Rosemi's arms, 
who cries : " My daughter ! O, my daughter ! ' Scene closes in. 

SCENE ILL— Chamber in the De Ferny Pal ace, handsomely painted flat. 
Writing-table to be carried on. Large doors in c. 

Enter Morris and Ferny. 

Ferx. What horrid news, say you has been transmitted 1 

A rank offence in our ranks committed ! 
Mor Ay, and a nobleman the victim is ! 

The Baron Bestfllle — oh, how sad it is ! 
Ferx. 'Tis sad, but still I've heard great many moot 

That lie was nothing but an old galloot. 
Mor. Young man, beware, you know not what you say, 

If a policeman heard you, you would have to pay 

Most dearly for these words — for so detected 

You will as criminal be first suspected. 

So, mind your eye — I must from hence be getting, 

To buy my chances in a pool-room betting ! [Exit, R. 
Ferx. I'll to the Baroness's chamber haste, 

She is a widow now ; no time to waste ! [Exit, 

Enter Rosemi, c. 

Rose. Oh, ma . oh, may ! oh, me ! oh, my ! oh, mo ! 
I am the worst used of ge-nus homo ! 
Oh, mo ! oh, ma ! oh, may ! oh, me ! oh, my ! 
I am so sad I really want to cry ! 
That act of Shell's so bad. I'd like t'have hissed him ! 
But oh! that isn't down in Delsarte's system. 
Upon the victim's body there were found 
These papers here — Shell dropped them on the ground. 
I picked them up — I've brought them here! I know 
They are the Count's, his name is on them ; oh, 
Is it for this my husband dealt in gore 1 
A pawn-check — four-eleven-forty-four ! 
Oh, mercy on us! can't one's life be hid 1 
To think for this, my Shell has murder did! 
It grives me sore to know for sor-did greed, 
That is no sort o' gain, he sort that deed ! 
I'll bring these treasures to their first head- quarter ; 
Then give me back my daughter ! Oh, my daughter ! 

[Places the papers in table-drawer, and exits, R. 

Enter, hurriedly, Morris, l. ; holding Ferny by the throat. 

Mor. Deceitful wretch! Assassin! is it true, 

The Count V>e,x\flle has emptied been by you? 

Ferx. Unhand me! What! Great rocks ! A murderer, I ? 
Groat thundering Keeley motor, it's a lie! 



EOSEMI SHELL. 13 

Mor. Ah, but the proof, 'gainst which you are not proof \ 
The evidence of crime's beneath this roof! 

Fern. Where, liar, where 1 Show me! 

Mor. This way ! 

Pawn-ticket ! that's the first, next, so they say, 

Four-eleven-forty-four — these things were stole, 

And you possess them. Shell has told the whole! {goes to table 

and takis them out) 
Ah, Shell spoke true ! Here, villain ; son of Adam ! 

Fern, {aside, baffled). By gum, they're there ! I thought old Bestfille 
had 'em ! 

Mor. Your doom is sealed; to prison you must go, 

There to be sentenced. Guards without there, ho ! 

Enter Guards. 

Here, seize the villain ! for the crime is his'n, 

And to the Tombs straightway take him to prison. (Guards 

seize him) 
Don't stop to argue, 'tis no use ; away ! [tarns aside. Music.) 

Enter, wildly, Rosemi. 

Rose. Stay — stay — stay! {tragic flourish) Stay! {gasping for breatli) 
The world all lies! my blood at last has risen ! 
You're cartin' oif a guiltless man to prison — 
Hr did not do the deed ! The crime's not his'n ! 
Another did the deed ! one old and wizen. 
Don't hang the young man, oh ! the crime's not his'n ! 
Don't, by \mstake, the young man take to prison! 

Fern. 0, save me ! tell them who the murd'rer is ! 

Enter Piermi, c. 

Pier. Don't be so fresh, young man. just mind your biz. 

Rose, [tragical). At sight of him, great lands, my brain grows wild ! 

Behold the 

Pier, {silencing her with a gesture). Cheese it! (speaking of) Come in 
here, my child. [Music. Leads on Susie, followed by An- 
drew.) 
Here is our Susie, and her young escorter ! 
Rose, {very wildly). Oh, oh, oh, oh ! my daughter ! Oh, my daughter ! 

Enter Mule, dragging on dog ; Rosemi falls quivering and gasping at Susie's 

feet. 

Mor. Away to prison, the crime is his'n ! 

The crime is his'n, away to prison ! (the Guards lead him off — 
repeating to music several times) 
Omnes. Away to prison, the crime is his'n ; 

The crime is his'n, away to prison! 

Positions. 

Rosfmt, c, on floor. l. 

r. r c. l. c. Mule. 

Piermi. Susie (kneeling). Andrew. Dog. 

Morris. Piermi dances about Rosemi' s body, singing. 



14 ROSEMI SHKLL. 

SONG. 
What do I care for your spying, etc. (Morris and Mule join in.) 

Chorus. — What does he care, etc. 

Rosemi revives, is raised by Susie and Andrew, bewildered for a moment ; 
as she is being led off', L M recovers in a fit of rapture, and exclaims, hug- 
ging Susie : " My daughter ! oh, my daughter !" Exits, with, Andrew 
and Susie. The others follow, with Piermi and Morris, arm-in-arm, 
dancing to the tune and words of chorus. Exit Morris and Piermi ; 
then exit Mule {with Dog), also dancing and singing. He sneezes as he 
goes off. 

SCENE LAST. — Rimparts of the old State Fort, with a distant vino of 
Washington on the Potomac by moonlight. 

Enter Susie, holding a letter, % 

Susie. Unhappy me ! My Andrew writes this letter, 

And asks what mamma has that does so fret her. 

He fears there's something awful on her mind, 

And if there is, and he the cause can find, 

And learns that over me there comes disgrace, 

He'll never come again before my face. 

Alas. I thought for naught my love could leave me, 

Alas, I never thought he d so deceive me ! 

(spoken very sadly) Ah, when I think of all the things he's said 

That were so nice, my eyes grow moist, in bed, 

And I recall with burning tears that scald, 

His promise still to love me when I'm bald. [Exit, mournfully. 

Enter Piermi — he sings to the air of " The Scamp." 

SONG. 
The Darn'dest of Scamps. 

I flatter myself I'm a scamp, 

A double-dyed villain, egad ! 
A scally-wag, rascal, and rogue. 

And everything else that is bad ; 
I proved to my parents a bane, 

A perfect young fiend to my nurse, 
And every year that I spend on this sphere, 

I am getting from bad to worse. 

chorus. 

If ever there was an old scamp, 

I flatter myself I am he ; 
From William the Norman, to Brigham the Mormon, 

They can't hold a candle to me. 

When first I began to cavort, 

A tiny young shaver of six; 
The first thing I did of a villainous sort 

Was to smash all our kittens with bricks j 



ia;si 3i£ bii:.i.L. . 15 

Just one year from then an old lien 

I captured, my age was but seven, 
I got a sky-rocket hitched on to her socket, 
And sent the old chicken to heaven. 

CHORUS. 

If ever, there was an old scamp, 

I flatter myself I am he ; 
From a Sunday-school teacher, to Henry Ward Beecher, 

They can't hold a candle to me. 

At twelve I was boss of the town, 

Had mashed every kid there was 'nigh ; 
Laid every lad low, with a fearful knock down, 

And given each one a black-eye; 
At twenty I worked in the banks. 

And was known as a deuce of a Salter ; 
One day — as they say — I broke loose from the ranks, 

And the papers all called me ;{ defaulter." 

chorus. 
If ever there was an old scamp, 

I flatter myself I am he ; 
From a free-loving Mormon, to Duncan and Sherman, 

They can't hold a candle to me. 

I have sworn, I have burglared, and stolen, 

I have chiselled and blackmailed, and lied ; 
In fact, I don't know of a crime every time, 

That I couldn't commit if I tried ! 
I flatter myself I'm a scamp, 

A deuced immense one, egad ! 
A doubled-dyed villain, and rascal, and rogue, 

And everything else that is bad. 

CHORUS. 

If ever there was an old scamp, 

I flatter myself I am he : 
From to the head of the Nixes, to the Boss of Big Sixes, 

They can't hold a candle to me. 

Pier, (speaks). My wife and Morris have apian on foot , 
And want me here on hand to help them do't ! 
They want to set that Count de Ferny free. 
Great Moses ! what will then become of me ! 
If I help him, then to the wall I'm jammed ; 
Not much, I guess. Ha ! if I do, I'm damned ! 
With Rosemi I shall have a tiff, that's plain — 
She's trying on her plain-tiff dodge again j 
I'll carry warning to the sup'rintendent, 
And close the carry- ere of the defendant. [Exit. R. 

Enter Mule-in-Hay, with Dog. 

Mule {very sadly). I bring unto the Count this terrier here, 
The last sad offering on this earthly sphere. 
My Pollywocr ain't pretty, but he's good, 
I've trained him proper, as a parent should ; 



16 KOSEMI SHELL. 

When he feels in the mood lie can say " Thankee !" 
Can hold the fort like Moody and like Sankey ! 
Besides I've trained him to perform some tricks, 
To chew shoe-leather and to swallow sticks, 
And, what is harder still — lie's often done't — 
I've taught him how to wag his tail in front. 
His nose is moist, like mine, his eyes are grayish, 
He has a youthful Blum, quite Steele Mackayish. 
To thee, De Ferny, I this purp do send 
On pwpose to convince thee I'm thy friend. 
I'd like to give him (sneeze) in a speech well said, 
But, oh, this horrid cold here in my head ! {sneeze.) 

Sings, to the air of u Hildcrbrand Montrose" the following original Sneezing- 
Song. 

SNEEZING SONG. 
Copyrighted by Sydney Rosenfeld. 

I have a constant ailing dose, 

In vain I try to stop it ; 
I've used all ointments hot, and froze, 

To plaster and to prop it ; 
Sometimes I do dot bind it, 

But when to speak I care, 
And find I can't get started, 

It albost bakes be swear ! 

CHORUS. 

P'shew* — p'shew !* Oh, by poor dose ! 
By throat is hot as blazes, but the other parts are froze ; 
I'd like to tell a story of my troubles and my woes, 
But oh, I cannot do it — there's a stoppage id by doze ! 

Exit Mule, but returns to meet Morris, who enters. 

Mor. Ah, Mule-in-Hay, go set that bull-dog free, 

And tell your Mrs. straight to come to me. 
Mule (in a shrill voice). I fly, my Lord ! I fly ! (hands off the dog.) 
Mor. But stop, come back ! 

{giving him lump of glue) Take this cement ; your voice has got 
a crack, 

Just take that crack and have it close cemented ! 
Mule. He looks so serious, you'd s'pose he meant it ! 

A crack at me intended, it's a fact! 

But if this thing can fix a voice that's cracked, 

How would it do for me to send a bit 

To what's-his-name % his has got a split ! 
Mor. Your own is just as bad, you needn't taunt. 
Mule. But he can keep it up ; you know /can't. 
Moit. Keep up a voice so high ! I'd keep it down. 
Mule. Oh, that's Stuart on Robson ; I'd leave town 

If my voice lasted so perennial, 

Or else I'd box it up for the Centennial. [Exits, L. 

Mor. (calling off). Turnkey, send out your prisoner to me. 

* Sneeze ! 



ROSEMI SHELL. 17 

^ Enter Ferny. 

Ferny. Morris-and-Essex, can't you set me free 7 

I am not guilty ; why then must I suffer % 

I am the victim of some other duffer. 

Can you not find some plea 1 — I hate profanity- — 

But damn it, man, can't you make out " insanity ?" 
Mor. Won't wash — been tried too many times before, 

Although perhaps in your case 'tmight help more, 

Because the judge and jury would not doubt you, 

You always have a crazy look about you. 
Fern. Don't guy me, please, for I your guidance need. 

Pray let me slip, and make believe I'm Tweed. 
Mor. No ; hold your oars and roars, I'll free you still, 

Although 'tis death to help a man who'd kill. 

Go, wait in there until the signal's guv, 

And know I yield my duty to my love ! 
Fern. Good 'nough, old man, I'll bet my boots on you! 

But tell me what and where you'll signal to. 
Mor. On yonder lower side, for that best suits. 

Await the cry of u Rumpty foozle snoots." [Hurries him off. 

I'll go now for a drop of soda water, 

And then I'll 

Enter Rosemi. 

Rose. Oh, my daughter ! oh, my daughter ! 

Oli, Morris, and oh, Essex, and owe all ! 

Oh, Crucible, and oh, A. Oakey Sail ! 

My husband, yielding to my prayers and hopes, 

Has promised to come here with lots of ropes, 

To help us — not to hang by, though he oughter; 

[aside) But hush — I nearly had betrayed my daughter. 
Mor. Here is the trap-door down which he must go. 

{after hunting for a trap-door) I've managed stages long enough 
to know 

Where trap-doors are, in fact, I have gone through 'em 

E'en since those far back days of Johnny Brougham. 
Rose. The time draws nigh for Piermi Shell to come ! 

Piermi ! Piermi ! {pause) All is still and dumb. 

Piermi is seen looking over back wall and pointing out spot to a Guard. 
Rosemi and Morris walk off in different directions very quietly, 

Pier, {sings). Don't think I'm blind ! {disappears.) 

Re-enter Rosemi. Sings to the waltz song of Girofle. 

Rose. Piermi Shell, 

Where are you, tell ? 
Why don't you come where you " had oughter" ? 

For don't you know, 

If you don't, oh, 
What will become of our beautiful daughter? 

Re-enter Piermi. 

At last, at last! He's come at last, at last! 



18 HOSEMI SHELL. 

Re-enter Morris. 

Mor. At last, at last ! He's come, he's come at last, at last ! 

Re-enter Mule. 

Mule. At last ! at last ! at last ! at last ! at last ! 

\^ SE I At last we seize you, and we sees you last. 

Pier. You see shoe-last! 0, no ! you do not do't! 

I'm not a last, nor slipper, shoe nor boot. (Morris beckons — 
they go about mysteriously, looking for the trap-door, singing to 
the '* Conspirators' Chorus") 

CONSPIRATORS' CHORUS. 

Madame Angot. 

We'll find the place before we go, 
We'll find the place before we go, 
And then we'll dive way down below ! 
And then we'll dive way down below ! 
But give the sign, oh give the sign 
That shall define our meaning fine. 

Oh, umpty foozle-oozle — oh, shnoots ! 

Oh, rumpty foozle-oozle — shoots ! 

Oh, rump-ty — f-o-o-o-o-o-zle — shnoots ! 



Enter Ferny— -joins in. 

Oh, rumpty foozle-oozle — shnoots ! 
Oh, rumpty foozle-oozle — shnoots ! 
Oh, rumpty — fo-o-o-o-o-zle — shnoots ! 

They join hands and walk around the trap-door in a circle. Enter, from 
opposite entrances, facing each other, Andrew and Susan, dressed as 
the Light Shell Guard. They sing. 

SONG. 
Air. — " Skidmore Guard" 

We've made it up, w T e're friends again, are Andy and his Sue ; 
We love each dearer now than ever, and more true ! 
Though Pa and Ma may have a row, or get into a fight, 
We young ones never shall get mad, because it isn't right. 

March around and kiss. 

Deary, deary, 

Come right herey ! 

Kiss me, cheery 
Once or twice; 

That's right, honey, 

It's awful funny, 
But it's ever so nice ! 

After song they march to music, up c, and remain locked in each other's arms. 
The others come down, after having been walking round the trap-door, and 



KOiSEML SHELL. 19 

then spread and right about. Ferny is led by Morris to the trap-door ; 
but just as he raises it, cries are heard without, and Piermi, l. 1 e.. claps 
his hands and shouts. 

Rose. (r. 1 e.). Oh, mercy on us all ! We are betrayed; (she sees 
picture of lovers embraced.) 

Enter Guards — they seize Ferny, and take him r. 

Oh, no ! not him ! At last my debt is paid, 
She's happy now ; her love has blessing brought her. 
Then let me speak, my daughter, oh, my daughter ! 
That man is not the man — your man crawls there ! 
A wretched murderer, a rascal rare. 

All fall back and look at Piermi, crouched at R. u. E. {he having sneaked round 
there during Rosemi' s speech.) He draws himself up, and then makes a 
run for opposite entrance. 

Mor. Aim, fire ! aim, fire ! Aim higher ! and fire higher ! 
Aim, fire ! aim higher ! fire higher ! higher fire ! 

Guards have fired. Piermi falls, c, over trap-door ; all but Guards dance 
around him, singing to the previous air of " Stolen Kisses from Girqfle." 

Omnes. He is dead ! oh, he is dead ! 

And it serves him right-ight-ight ! 
He at last has found his bed, 
So good night ! good night ! good night ! 

They repeat ; at the finish of second verse, Piermi jumps up and sings : 

What do I care for your lying, 

What care I for what you saw ^ 
For your — (about to dance.) 

Guard hurries doivn from back, and hits him over the head with stuffed rifle- 
butt. He falls flat, and dies. Omnes pointing to picture of Susie in 
Rosemi' s arms, up c. 

CHORUS. 

Air. — "Madame Angot." 

She's the daughter — she's the daughter ! 

She's the daughter of Rosemi Shell ; 
She's the daughter, darling daughter, 

She's the daughter of Rosemi Shell! {Repeat.) 

Lime light and Curtain in Tableau. 




i: Sweetest Shake ^pere, Nature's child 



Warbles his native wood-notes wild."— Milton. 

Jggp' Please notice that nearly all the Comedies, Farces and 
Comediettas in the following List of "De Witt's Acting Plays " 
are very suitable for representation in small Amateur Theatres 
and on Parlor Stages, as they need but little extrinsic aid from 
complicated scenery or expensive costumes. They have attained 
their deserved popularity by their droll situations, excellent 
plots, great humor and brilliant dialogues, no less than by the 
fact that they are the most perfect in every respect of any edi- 
tion of Plays ever published either in the United States or 
Europe, whether as regards purity of the text, accuracy and 
fulness of stage directions and scenery, or elegance of typo- 
graphy and clearness of printing. 

*%* In ordering, please copy the figures at the commencement of each 
piece, which indicate the number of the piece in "De Witt's List of 
Acting- Plays." & ® 

2£|p Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents./ 

Address, ' ROBERT M. DE WITT, 

No. 33 Hose Street, New York. 



DE WITT'S -a-GTZSTQ PLAYS. 

CASTE. An original Comedy in three acts, "by T. W. 

Robertson. A lively and effective satire upon the times, played successfully in 
America, at Wallack's. Five male and three female characters. Costumes, 
modern. Scenery, the first au4 third acts, interior of a neat room ; the second 
a fashionable room. Time in representation, two hours and forty minutes. 

NOBODY'S CHILD. A romantic Drama in three acts, by 

Watts Phillips. Eighteen male and three female characters. A domestic 
drama, wonderfully successful in London, as it abounds in stirring scenes 
and capital situations. Costumes modern, suited to rural life in Wales. 
Scenery is wild and picturesque. Time in representation, two hours and a 
quarter. 

£100.000. An orip-inal Comedy in three acts,^ Henry J. 

Byron. Eight male and four female characters. A most effective piece, 
played with applause at Wallack's. Costumes of the day. Two scenes arc 
required— a comfortably furnished parlor and an elegant apartment. Time 
in representation, one hour and three quarters. a 



DE WITT'S ACTING PLAYS. 



i DANDELION'S DODGES. A Farce in on© act, by Thomas 
J. Williams. Four male and two female characters. A rattling- piece. The 
part of Dandelion excellent for a low comedian. Costumes of the clay. Sce- 
nery, a picturesque landscape. Time in representation, fifty minutes. 

5 WILLIAM TELL WITH A VENGEANCE; or, the Pet, 

the Patriot and the Pippin. A grand new Burlesque by Henry J. Byron. 
Eight male and two female characters. Replete with telling allusions. Cos- 
tames of the period of the middle ages, grotesquely exaggerated. Five 
y scenes in Switzerland. Time in representation, one hour, 



6 SIX MONTHS AGO, A Comedietta in one act, "by Felix 
Bale. Two male and one female characters. A really effective little piece, 
suited to amateurs. Costumes of the day. Scene, morning room in a country 
house, Easily produced. Time in representation, forty minutes. 

1' MAUD'S PERIL, A Drama in. four acts, hy Watts 

Phillips. Five male and three female characters. Strong and sensational. 
Costume of English country life of the period. Scenery not elaborate. Time 
in representation, two hours and a half. 

8 HENRY DUNBAR ; or, a Daughter's Trials. A Drama 

in four acts, by Tom Taylor. Ten male and three female characters. One 
of the best acting plays of the clay. Costumes of the period. Scenery 
modern English. "Time in representation, three hours. 

9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. 

A farcical interlude in one act, by Charles Selby. Four male and one 
female characters. A very laughable piece, easily produced ; certain to bring 
down the house. Costumes of the day. Scene, a genteelly furnished bed- 
room. Time in representation, forty minutes. r> 

10 THE SNAPPING TURTLES; or ? Matrimonial Masque- 

rading. A duologue in one act, by John B. Buckst one. One male and one 
female character, who assume a second each. Avery ludicrous farce ; has 
been eminently successful. Costumes of the day. Scene, a drawing room. 
Time in representation, one hour, 

11 "WOODCOCK'S LITTLE GAME. A Comedy Farce in 

two acts, by J. Maddison Morton. Four male and four female characters. 
A sparkling, lively composition, by one of the most humorous dramatic 
authors. The part of Woodcock has been performed by Charles Mathews 
and Lester Wallack. Costumes of the period. Scenery, modern apartments, 
handsomely furnished. Time in representation, one hour. 

12 A WIDOW HUNT. An original Comedy in three acts, 

by J. Sterling Coyne. Four male and four female characters. An inge- 
nious and well known alteration of the same author's ''Everybody's Friend, 1 ' 
the part of Major Wellington de Boots having been rendered popular by Mr. 
J. S. Clarke in England and America. Costumes and scenery of the 
period. Time in representation, two hours and a half. 

13 RUY BLAS, A romantic Drama in four acts, from the 

French of Victor Hugo. Twelve male and four female characters. This 
piece was eminently successful in London when produced by Mr. Feehter. 
It contains numerous scenes, capable of being performed unconnected with 
the drama , by amateurs. Spanish costume* of 1092. Scenery, halls and apart- 
ments in the" royal palace at Madrid. Time in representation, three hours 
and a half. 

14 NO THOROUGHFARE. A Drama in five acts, with a 

prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six 
female characters. Very successiul as produced by Feehter in England and 
by Florence in America. Costumes modern but often changed. Scenery 
complicated ; English exteriors, Swiss interiors and Alpine passes. Time 
in representation, three hours and forty minutes. 

1& MILKY WHITE. A domestic Drama m two acts "byH. 

T. Craven. Four male and two female characters. A good acting, pathetic 
piece. Costumes English, of the present day. Scenery, an exterior and in- 
terior. Time in representation, one hour and a half. 



DE WITT'S ACTING PLAYS. 



No. 

16 DEARER THAN XJFE. A serio-comic Drama in three 

acts, by Henry J. Byron. Six male and five female characters. An effective 
piece, which could he readily performed by amateurs with success. Cos- 
tumes, English of the day. Scenery, two interiors, easily arranged. Time in 
representation, two Lours. 

17 KIND TO A FAULT. An original Comedy in two acts, 

by William Brough. Six male and four female characters. A well written 
composition with \ye\l drawn characters. Costumes of the present day. 
Scenery, two elegantly furnished interiors. Time in representation, one 
hour and twenty minutes. 

18 IF I HAD A THOUSAND A YEAR. A Farce in one 

act, by John Maddison Morton. Four male and three female charac- 
ters. A sp'endid social sketch— the part of Green being excel cut for a good 
light comedian. Costumes of the present day; and scenery, a neatly^fur- 
nished interior. Time in representation, one hour and fifteen minutes. 

19 HE'S A LUNATIC. A Farce in one act, by Felix Dale. 

Three male and two female characters. A sprightly, laughter-provoking 
production. Modern dr; sses : and scene, a drawing room. T.nie in repre^ 
sentation, forty minutes. 

20 DADDY GRAY. A serio-comic Drama in three acts, 

by Andrew Halliday. Eight male and four female characters. One of the 
author's most effective and natural compositions. Dresses of the present da v. 
Scenery, interior of a cottage, a lawyer's office, street and archway, and 
cottage with landscape. Time in representation, two hours. 

21 DREAMS ; or. My Lady Clara. A Drama in five acts, "by 

T. W. Robertson. Six male and three female characters. Full of thrilling 
incidents, with several excellent parts for both male and female. Was suc- 
cessfully brought out at the Boston Museum and New York Fifth Avenue 
Theatre. Costumes, modern German and English. Scenery, interiors and 
gardens, rather complicated, but effective. 

22 DAVID GARRICK. A Comedy in three acts, Tby T. W. 

Robertson. Eight male and three female characters. Most effectively per- 
formed by Mr. So thern in England and in America with decided success. Cos- 
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in 
representation, one hour and three quarters. 

23 THE PETTICOAT PARLIAMENT, An Extravaganza 

in one act, by Mark Lemon. Fifteen male and twenty-four female charac- 
ters. A revision of the " House of Ladies.' 1 Performed with great success 
at Mitchell's Olympic in New York. The costumes are extremely fanciful 
and exaggerated. Scenery, modern English. Time in representation, one 
hour and five minutes. 

24 CABMAN No. 93; or, Found in a Four Wheeler. A 

Farce in one act, by Thomas J. Williams. Two male and two female char- 
acters. A ludicrous piece, with a cabman for the first low comedian, and a 
stock broker as eccentric character part. Costumes of present day. Scene, 
a furnished room. Time in representation, forty minutes. 

25 THE BROKEN HEARTED CLUB. A Comedietta, "by 

J. Sterling Coyne. Four male and eight female characters. A laughable 
sat ; re on the Women's Rights movement. Costumes modern English. 
Scenery, a drawing room. Time in representation, thirty minutes. 

28 SOCIETY. A Comedy in three acts, by T. Wc Robert- 
son. Sixteen male and five female characters. A play exceedingly popular, 
intended to exhibit the foibles of British Society and to ridicule the election 
system. Costumes of the present day. Scenery elaborate. Time in repre- 
sentation, two hours and a half. 

27 TIME AND TIDE. A Drama in three acts and a pro- 
logue, by Henry Leslie. Seven male and five female characters. An effec- 
tive piece, with novel and striking incidents. Costumes English, present 
day. Scenery, London marine scenery. Time in representation, two hours. 



DE WITT'S ACTING PLAYS. 



No. 

28 A HAPPY PAIR. A Comedietta in one act, by S. 

Tkeyre Smith. One male and one female character. A neat dramatic 
sketch of a conjugal misunderstanding. Modern dresses. Scene, a drawing 
room. Time in representation, twenty minutes. ' 

29 TURNING THE TABLES, A Farce in one act, by John 

. Poole. Five male and three female characters. One of the happiest efforts 
of the famous author of "Paul Pry. 1 ' The part of Jeremiah Bumps is re- 
dolent with quaint humor. A standard acting piece. Dresses and scenery 
of the oresent day. Time in representation, sixty-rive minutes. 

30 THE GOOSE "WITH THE GOLDEN EGGS. A Farce 

in one act. by Augustus May hew and Sutherland Edwards. Five male and 
three female characters. Gay, rollicking, full of incessant action, having 
three of the most comical characters imaginable. Costumes of the present 
period. Scene, a lawyer's office. Time inrepresentation, forty-five minutes. 

31 TAMING A TIGER. A Farce in one act, altered from 

the French. TJiree male characters. In this a dashing light comedian and 
fiery, petulant' old man cannot fail to extort applause. Modern dresses ; and 
scene, a modern apartment. Time in representation, twenty five minutes. 

32 THE LITTLE REBEL. A Fa-ce in one act, by J. Ster- 

ling Coyne. Four male and three female characters. An excellent piece 
for a sprightly young actress. Dresses and scenery of the present day. Easy 
of production. Time in representation, about forty-five minutes. 

33 ONE TOO MANY FOR HIM. A Farce in one act, by 

Thomas J. Willic*;js. Two male and three female characters. Adapted 
from a popular French vaudeville. Costume of the time. Scene, parlor 
in country house. Time of representation, fifty minutes. 

34 LARKIN'S LOVE LETTERS. A Farce in one act, by 

Thomas J. Williams. Three male and two female characters. The piece 
has excellent parts for first low comedy — first old man and a soubrette. 
Dresses of the day. Scene, a parlor. Time in representation, forty minutes. 

35 A SILENT "WOMAN. A Farce in one act, by Thomas 

Hailes Lacy. Two male and one female characters. One of the prettiest 
little pieces on the English stage. Dresses of the period. Scene, a drawing 
room. Time in representation, thirty-five minutes. 

36 BLACK SHEEP, a Drama in th^e-i acts, from Edmund 

Yates' novel of the same name, and arranged for the stage by J. Palgrave 
Simpson and the author. Seven male and live female characters. Costumes 
of the present time. Scenery, an interior ; gardens at Homburg, and a 
handsome parlor. Time in playing, two and a half hours. 

37 A SILENT PROTECTOR. A Farce in one act by Thom- 

as J. Williams. Three male and two female characters. An active, hust- 
ling piece of ingenuity, which affords abundant opportunities for the display 
of Quickfidget's eccentricities. Costumes of the period. Scene, a drawing 
room. Time in representation, forty minutes. 

38 THE RIGHTFUL HEIR. A Dram % in live acts, by Lord 

Lytton (Sir Edward Lytton Bulwer). Ten ?naie and two female characters. 
A revision and improvement of the author's play of the "Sea Captain, " 
originally produced under management of Mr. Maeready. Costumes of the 
English Elizabethan period, armor, doublets, tights, &c. Scenery pictu- 
resque and elaborate. The play contains numerous scenes and passages, 
which could be selected for declamation. Time in representation, two hours 
and forty-five minutes. 

39 MASTER JONES' BIRTHDAY. A Farce in one act, by 

John Maddison Morton. Four male and two female characters. A very 
amusing and effective composition, particularly suited to amateurs. Dresses 
of the day; and scene, a plain interior. Time of playing, thirty minutes. 

dO ATCHI. A Comelietta in one act, by John Maddison 

Morton. Three male and two female characters. A gem in pleasantry, 
whose conclusion is irresistibly comic. Costume of the day. Scene, a taste- 
fully laid out garden. Time in representation, forty minutes. 



DE WITT'S ACTING PLAYS, 



No. 

41 BEAUTIFUL FORZVER. A Fare© in one ac', by Fred- 

erick Hay. Two male and two female characters. A sprightly satirical re- 
buke to those t-iat patronize advertised nostrums. Costumes of the day. 
Scene, a handso ne interior. Time in representation, forty minutes, 

42 TIME AND THE HOUR. A Drama in threa acts, by 

J Palgrave Simpson and Felix Dale. Seven male and three female charac- 
ters. An excellent acting play, full of life and incident, the pails of 
Medlicott and Marian Beck being capable of impressive representation— all 
others good. Costumes of the present period. Scenery, gardens and ex- 
terior, cottage and garden, and an old oaken chamber. Time in representa- 
tion, two hours and a half. 

43 SISTERIiT SERVICE. An original Comedietta in one 

act, by J. P. Wooler. Seven male and two female characters. An interest- 
ing piece. Costumes, rich dresses of the musketeers of Louis XIII. 
Scenes, an apartment of that period, and a corridor in the royal palace of 
France. Time in representation, forty minutes. 

44 WAR TO THE KNIFE, a Comedy in three acts, by 

Henry J. Byron. Five male and four female characters. A pleasing, enter- 
taining and morally instructive lesson as to extravagant living ; capitally 
adapted to the stage. Costumes of the present time. Scenes, three interiors. 
Time in representation, one hour and three quarters. 

45 OUR DOMESTICS, A Comedy Farce in two acts, by 

Frederick Hay. Six male and six female characters. An irresistibly face- 
tious exposition of high life below stairs, and of the way in which servants 
treat employers during their absence. Costumes of the day. Scenes, 
kitchen and dining room. Time in representation, one hour and a haif. 

46 MIRIAM'S CRIME. A Drama in three ap.t^, by H. T. 

Craven. Five mal- and two female characters. One of the best acting plays, 
and easily put on the stage. Costumes modern. Scenery, modern English 
interiors, two in number. Time in representation, two hours. 

47 EASY SHAVING. A Farce in one act, by F. C. Bur- 

nand and M ntagu Williams. Five male and two female characters. A 
neat and effective piece, with excellent parts for low comedian and singing 
chambermaid. Costumes of the days of Charles II of England. Scene, a 
barber's shop. Time in representation, twenty-five minutes. 

48 LITTLE ANNIE'S BIRTHDAY. An original persona- 

tion Farce, by W. E. Suter. Two male and four female characters. A 
good farce, whose effectiveness depends upon a singing young lady, who 
could make the piece a sure success. Costumes modern. Scene, an apart- 
ment in an English country house. Time in representation, twenty-live 
minutes. 

49 THE MIDNIGHT WATCH. A Drria in one act, by 

J. Maddison Morton. Eight male and two female characters. A successful 
little play. Costumes of the time of the French Revolution of 1? ( J5. Scene, 
the platform of a fortress. Time in representation, one hour. 

50 THE PORTER'S KNOT. A seric-c?mlc Drama in two 

acts, by John Oxenford. Eight male and two female characters. Interest- 
ing and thoroughly dramatic. Costumes of the day. Scenes, an interior of 
cottage and exterior of seaside hotel. Time in representation, one hour and 
a quarter. 

51 A MODEL, OF A WIFE. A Farce in one act, by Alfred 

Wigan. Thre^ male and two female characters. Most amusing in concep- 
tion and admirably carried out Costumes of the day. Scene, a painter's 
studio. Time in representation, thirty-five minutes. 

52 A CUP OF TEA. A Comedietta in one act. Translated 

from the French of Une Tasse de The, by Charles Nuttier and .1. Derley. 
Three male and one female characters. Ar. exquisite petty comedy, well 
adapted for amateur representation. Costumes modern. Scene, handsome 
drawing room. Time in representation, thirty minutes. 



DE WITT'S ACTING PLATS. 



No. 

53 GERTRUDE'S MONEY BOX. A Farce in one act, hy 

Harry Lemon. Four male and two female characters. A successful, well 
written piece ; an incident in rural life. Costumes of the present time. 
Scene, interior of a cottage. Time in representation, forty -five minutes. 

54 THE YOUNG COLLEGIAN <Tke Cantab). A Farce in 

one act, by T. W. Robertson. Three male and two female characters. A 
rattling piece, filled with ludicrous situations, which could be splendidly 
worked up by a good light comedian. Costumes modern ; and scene, a 
handsome interior. Time in representation, fifty minutes. 

55 CATHARINE HOWARD; or, the Throne, the Tomb 

and the Scaffold. An historical play in three acts | from the celebrated 
play of that name, by Alexander Dumas] ; adapted by W. D. Suter. Twelve 
male and five female characters. A most successful acting drama in both 
France and England. Costumes of the period of Henry VIII of England, 
artistic and rich. Scenery elaborate and historical. Time in representa- 
tion, two hours and a half. 

56 TWO GAY DECEIVERS ; or, Black, White and Gray. 

A Farce in one act by T. W. Robertson. Three male characters. Adapted 
from the French of one of the most laughable vaudevilles on the Parisian 
stage. Costumes of present day. Scene, a cell in a police station. Time in 
representation, forty minutes. 

57 NOEMIE. A Drama in two acts, translated and adapt- 

ed .from the French of Dennery and Clement by T. W. Robertson. Four 
male and four female characters. Originally acted in Paris, this piece created 
such a sensation that it was produced subsequently at all the leading theatres 
of London. Costumes modern. Scenery, a garden scene and a richly 
furnished interior. Time in representation, one hour and a half. Easily 
put on the stage. 

58 DEBORAH (LEAH); or, the Jewish Maiden's 'Wrong. 

A Drama in three acts, by Charles Smith Cheltnam. Seven male and six 
female characters. A strangely effective acting play. Costumes pictur- 
esque yet simple. Scenery elaborate and cumbersome to handle. Time in 
representation, two hours and fifteen minutes. Elegant extracts can be 
taken from this drama. 

59 THE POST BOY. An original Drama in two acts, hy 

H. T. Craven. Five male and three female characters. Tery successful. 
Costumes modern. Scenery, two interiors. Time of playing, an hour and 
a half. 

60 THE HIDDEN HAND; or, the Gray Lady of Perth 

Yennon. A Drama in four acts, by Tom Taylor. Five male and five female 
characters. Costumes of the period of James II of England. Scenery 
somewhat elaborate. Time in representation, iwj hours and a half. 

61 PLOT AND PASSION. A Drama in three acts [from 

the French], by Tom Taylor. Seven male and two female characters. A 
neat and well constructed play, admirably adapted to amateur representation. 
Costumes of the period of the First Empire, rich and attractive. Scenes, an 
interior in a French mansion, and one in a country villa. Time in represen- 
tation, one hour and a half. 

62 A PHOTOGRAPHIC FIX. A Farce in one act, hy 

Frederick Hay. Three male and two female characters. A brilliant, witty 
production. Costumes of the day. Scene, a photographic room. Time in 
representation, thirty-five minutes. 

63 MARRIAGE AT ANY PRICE. A Farce in. one act, hy 

J. P. Wooler. Five male and three female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a garden. 
Time in representation, thirty minutes. 

64 A HOUSEHOLD FAIRY. A domestic Sketch in one act, 

by Francis Talfourd. One male and one female character. A gem in its line ; 
artistic, dramatic and very natural. Modern costumes, and scene a poorly 
furnished apartment. Time in playing, twenty-five minutes. 



DE WITT'S ACTING PLAYS. 



N > 



65 CHECKMATE. A Comedy in two acts, oy Andrew Ha 1- 

liday Six maleand fivefeiaale characters. Costumes, English, of the pres- 
ent day. Scenes, interior of a country hotel, and exterior or same, witU 
landscape. Time in representation, one hour and a half. 

66 THE ORANGE GIRL. A Drama in a prologue and 

three acts, by Harry Leslie and Nicholas Bowe. Eighteen male and four 
female characters. Costumes of the present day; this piece requires con- 
siderable scenery, and some of an especial nature. Time in representation, 

two hour? and a quarter 

67 THE BIRTHPLACE OF PODGERS. A Farce in one 

act. by John Hoilingshead. Seven, male and three female character 
capital acting extravaganza, introducing a number of eccentric personages. 
Costumes of the present time. Scene, a workiuginau's room. Time in repre- 
sentation, forty minutes, 

68 THE CHEVALIER DE ST. GEORGE. A Drama in 

three acts adapted from the French of MM. Veiesvilie and Roger de Beauvoir, 
by T. W. Robertson. Nine male and three female characters. A very popu- 
lar and favorite nlay. Costumes, very rich, hi velvet, court and hunting 
dresses breeches^ stockings, &c. Scenery, a tavern and garden, an interior, 
style Louis Seize, and a plainer interior. Time in representation, one hour 
and a half. 

69 CAUGHT BY THE CUFF. A Farce in one act, by 

Frederick Hay. Four male and one female characters. An exquistfely 
ludicrous production, crammed with situations. Costumes of the day. 
Scene, a kitchen. Time in representation, forty minutes. 

70 THE BONNIE FISHWIFE. A Farce in one act, "by 

Charles Selby, Comedian. Three male and one female characters. A very 
snrMitiv piece, in which the lady is required to sing, and to be capable of 
assuming the Scottish dialect. The costumes, although modern, involve 
eccentric Scottish and deer stalking dresses. Scenes, a handsome chamber 
and interior of Highland cottage. Time of playing, forty-hve minutes. 

71 DOING FOR THE BEST. A domestic Drama in two 

acts by M Rophino Lacv. Five male and three female characters. An 
effective actin^ piece, popular in London . Costumes of the/lay. Two scenes, 
one interior of cottage, the other a drawing room. Time m representation, 
one hour and a half. 

7? A LAME EXCUSE. A Farce in one act, by Frederick 

Hav Four male and two female characters. Costumes of the day. Scene, 
a handsome interior. Time in represention, thirty-live minutes. 

7*3 A GOLDEN FETTER (FETTERED). A Drama in three 

act* by Watts Phillips. Eleven male and four female characters. Costumes 
ol the present time. Scenery extensive and peculiar to the piece, lime m 
representation, one hour and a half. 



74 THE GARRICK FEVER. A Farce in one act, by J. R. 

Planche Seven male and four female characters Costumes of the year 
SS-court dresses, regimentals, velvet trains, &c. Scenery, a plain interior. 
Time of representation, forty-five minutes. 

75 ADRIENNE? or, the Secret of a Life. Drama in three 

actsbyHarrv Leslie Seven male and three female characters. A telling 
romantic drama. Italian and French costumes, civil and military. Scenery 
SSoSlte fetwton and landscapes. Time in representation, one hour and 
forty-five minutes. 

•76 THE CHOPS OF THE CHANNEL. An original Nauti- 

Si Farce in one act, by Frederick Hay, Three male and two female 
characters A very mirth exciting and whimsical composition. Costumes 
of the present day. Scene, the saloon of a steamer. Time in representation, 
forty minutes. 



/ 




THE ROLL OF THE DRUM. A romantic Drama in 

three acts, by Thomas Bgerton Wilks. Eight male and four female charac- 
ters. A standard piece with the British theatres. Costumes of the period of 
the first French revolution. Scenery, interior of a farm house, a picturesque 
landscape and a drawing room. Time in representation, one hour and forty- 
five minutes. 

78 SPECIAL PERFORMANCES. A Farce in one act, by 

Wilmot Harrison. Seven male and three iemale characters. A most ludi- 
crous, ingenious and sprightly production. Dresses of the present day. 
Scene, a chamber. Time in performance, forty minutes. 

79 A SHEEP IN WOLFS CLOTHING. A domestic Drama 

in one act, freely adapted from Madame de Girardin's " Cue Femme qui 
detente Son Mari, by Tom Taylor. Seven male and five female characters. 
A neat and pleasing domestic play, founded upon incidents following Mon- 
mouth's rebellion. Costumes of the time of James II of England. Scene, a 
tapestried chamber. Time of playing, one hour. 

80 A CHARMING PAIR. A Farce in one act, by Thomas 

J. Williams. Four male and three female characters. Costumes of the pre- 
sent day. Scene, a handsomely furnished apartment. Time in representa- 
tion, forty minutes. 

81 VANDYKE BROWN. A Farce in one act, by Adolphus 

Charles Troughton. Three male and three female characters. Popular 
wherever performed. Costumes of the present day. Scene, a chamber, 
hacked by a window. Time of representation, one hbur. 

82 PEEP O' DAY 5 or, Savourneen Dheelish. An Irish 

romantic Drama in four acts (derived from ll Tales of the O'Hara Family 1 '), 
by Edmund Falconer. The New " Drury Lane ,; version. Twelve male and 
four female characters. Costumes, Irish, m the year 1798. Scenery, illustra- 
tive of Monster. Time in representation, three hours. 

83 THRICE MARRIED. A personation piece in one act, 

by Howard Paul. Six male and one female characters. The lady sings, 
dances and assumes personification of a French vocalist, of a Spanish dancer 
and of a man of fashion. Costumes of the day. Scene, a rconi in a lodging 
house. Time in representation, three quarters of an hour. 

81 >T GUILTY. A Drama in four acts, hy "Watts Phillips, 

en male and six female characters. A thrilling drama faund upon a fact. 

^ostomies of the present day. Scenery illustrative oi localities about 
Southampton and its harbor, and of others in India. Time in representa- 
tion, three hours. 

85 LOCKED IN WITH A LADY. A Sketch from Life, 

by H. E. Addison. One male and one female character. A very pleas- 
in..-;and humorous interlude. Costume of the day, and scene a bachelor's 
apartment. Time in representation, thirty-five minutes. 

86 THE LADY OF LYONS; or, Love and Pride. A Play in 

five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Twelve male five 
female characters. Four of the male characters are very good ones ; and 
Pauline, Madame De>chapelles and the Widow Melnotte are each excellent 
in their line. The piece abounds in eioquent declamation and sparkling- 
dialogue. This edition is the most complete in all respects ever issued. It 
occupies three hours in representation. The scenery, gardens and interior 
of cottage and mansion. Costumes French, of 1795. 

87 LOCKED OUT. A Comic Scene, illustrative of what may 

occur after dark in a great metropolis ; by Howard Paul. One male and two 
female characters, with others unimportant. Scene, a street ; dress, mod- 
ern. Time in playing, thirty minutes. 

88 FOUNDED ON FACTS. A Farce in one act, oy J. P. 

Wooler. Four male and two female characters. A favorite acting piece, 
easily put on the stage and never failing in success. Costumes of the pres- 
ent day. Scene, a hotel parlor. Time in representation, thirty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

89 AUNT CHARLOTTES MAID. A Farce in one act, 1 y 

J. Maddison Morton. Three male and three female characters. One of the 
best of this prolific humorist's dramatic pieces. Dresses of the period, and 
scene an apartment in a dwelling house. Time in representation, forty 
minutes. 

90 ONLY A HALFPENNY. A Farce in one act, by John 

Oxenford. Two male and two female characters. Dresses of the present 
day, and scene an elegantly furnished interior. Time in representation, 
thirty-five minutes. 

91 WALPOLE ; or, Every Man has his Price. A Comedy in 

rhyme, by Lord Lytton. Seven male and two female characters. Costumes 
of the period of George I of England. Scenery illustrative of London locali- 
ties, and residences of the same era. Time of playing, one hour and ten 
minutes. 

92 MY WIFE'S OUT. A Farce in one act, by G. Herbert 

Rodwell. Two male and two female characters. This piece had a suc- 
cessful run at the < ovent Garden Theatre, London. Costume modern, and 
scene an artist's studio. Time in rcpresen:ation, forty minutes. 

93 THE AREA BELLE. A Farce in one act, by 'William 

Brough and Andrew Halliday. Three male and two female characters. 
Costumes of the present time, and scene a kitchen. Time in performing, 
thirty minutes. 

94 OUR CLERKS ; or, No. 3, Fig Tree Conrt, Temple. An 

original Farce, in one act. Seven male and live female characters. Costumes 
modern, and scene a large sitting room solidly furnished. Time in represen- 
tation, sixty-five minutes. 

95 THE PRETTY HORSE BREAKER. A Farce, by Wil- 

liam Brough and Andrew Halliday. Three male and ten female characters. 
Costumes modern English, and scene a breakfast room in a fashionble man- 
sion. Time of playing, forty-five minutes. 

96 DEAREST MAMMA. A Comedietta in one act, by Wal- 

ter Gordon. Four male and three female characters. Costume modern 
English, and scene a drawing room. Time in representation, one hour. 

91 ORANGE BLOSSOMS. A Comedietta in one act, by J. 

P. Wooler. Three male and three female characters. Costume of the 
present day, and scene, a garden with summer house. Time in playing, 
fifty minu ces. 

98 WHO IS WHO ? or, All in a Fog. A Farce, adapted 

from the French, by Thomas J. Williams. Three male and two female char- 
acters. Costumes, modern English dresses, as worn by country gentry ; and 
scene, parlor, in an old fashioned country house. Time of playing, thirty 
minutes. 

99 THE FIFTH WHEEL. A Comedy in three acts. Ten 

male and two female characters. An excellent American production, easily 
managed. Costumes of the modern day. Scenery not complicated. Time 
of representation, about one hour and three quarters. 

100 JACK LONG. A D:>ama m two acts, by J. B. John- 

stone. Nine male and two female characters. Costume of the frontiers. 
Scenery illustrative of localities on the Texan frontier. Time of perform- 
ance, one hour and twenty minutes. 

101 FERN ANDE ; or, Forgive and For .^e * . A Drama in three 

acts, by Victorien Sardou. Eleven male and ten female characters. This 
is a correct version of the celebrated play as performed in Paris and adapt- 
ed to the English stage, by Henry L. Williams. Jr. Costumes, modern 
French. Scenery, four interiors. Time In representation, three hours. 

102 FOILED ; or, a Strnsrgle for Life ani Liber y. A Drama 

in four acts, by 0. W. Cornish. 9 males, o females. Costumes, modern 
American. Scenery — a variety of scenes required, but none elaborate. 
Time in representation, three and a half honrs. 



DE WITT'S ACTING PLAYS. 



No. 



103 FAUST AND MARGUER'.TE. Aromantic Drama m 

three acts, translated from the French of Michel Carre, by Thomas 
William Robertson. Nine male and seven female characters. Costumes 
German, of the sixteenth century ; doublets, trunks, tights. Scenery, a 
laboratory, tavern, garden, street and tableau. Time in representation, 
two hours. 

104 NO NAME. A Drama in fi?e acts, by Wilkie Collins. 

Seven male and five female characters. A dramatization of the author's 
popular novel of the same name. Costumes of the present day. Scenery, 
four interiors and a sea view. Time in representation, three hours. 

105 WHICH OF THE TWO. A Come iietta in one act, oy 

John M. Morton. Two male and ten female characters. A very neat and 
interesting petty come ly. Costume Russian. Scene, public room of an 
Inn. Time of playing, fifty minutes. 

106 UP FOR THE CATTLE SHOW. A Farce in one act, 

by Harry Lemon. Six male and two female characters. Costumes Eng- 
lish, of the present day. Scene, a parlor. Time in representation, forty 
minutes. 

107 CUPBOARD LOVE, A Farce in one act, by Frederick 

Hay. Two male and one female characters. A good specimen of broad 
comedy. Dresses modern, and scene, a neatly furnished apartment. 
Time in representation, twenty minutes. 

10S MR. SCROGGINS; or, Change o? Name. A Free in 

one act, by William Hancock. Three male and three female characters. 
A lively piece. Costumes of the present day. Scene, a drawing room. 
Time in representation, forty minutes. 

109 LOCKED IN. A Comedietta in one act, by J. P. Wool- 

er. Two male and two female characters. Costumes of the period. SceD^, 
a drawing room. Time in representation, thirty minutes. 

110 POPPLETON'3 PREDICAMENTS. A Farce in one 

act, by Charles M. Rae. Three male and six female characters. Costumes 
of the day. Scene, a drawing room. Time in representation, forty min- 
utes. 

111 THE LIAR. A Comedy in two acts, by Samuel Foots. 

Seven male and two female characters. One of the best acting plavs in 
any language. Costumes, embroidered court dresses, silk sacques," &c • 
still the modern dress will suffice. Scenes— one, a park, the other a draw- 
ing room. Time in representation, one hour and twenty minutes This 
edition, as altered by Charles Mathews, is particularly adapted for amateurs. 

112 NOT A BIT JEALOUS. A Farce in one act, by T. W. 

Robertson. Three male and three female characters. Costumes of the 
day. Scene, a room. Time of playing, forty minutes. 

113 CYRILS SUCCESS. A Comedy in five acts, by Henry 

J. Byrom. Ten male and four female characters. Costumes modern 
Scenery, four interiors. Time in representation, three hours twentv 

minutes. ' J 

114 ANYTHING FOR A CHANGE. A peti+e Comedy in 

one act. by Shirley Brooks. Three male and three female characters 
Costumes present day. Scene, an interior. Time in representation fiftv- 
one minutes. ' J 

115 NEW MEN AND OLD ACRES. A Comedy in thre« 

acts by Tom Taylor. Eight male and five female character* Costumes 
present day. Scenery somewhat complicated. Time in representation 
two hours. 

116 I'M NOT MESILF AT ALL. An original Irish St«^ 

in one act. by C. A. Maltby. Three male and two fetnale ch aracters fn 
tumeof preseatday, undress -uniform, Irish peasant and Highland' dress! 

Scene, a room. Time in playing twenty-eight minutes. ure^s. 



DE WITT'S ACTING PLAYS, 



N . 

117 NOT SUCH A FOOL AS HE LOOKS. A farcical 

Drama in three acts, by Henry J. Byron. Five male and four female char- 
acters. Excellent for amateurs. Costumes of the day. 9 three 

interiors. Time in representation, two hours. 

118 WANTED, A YOUNG LADY. A Farce in one act, by 

W. E Surer. Three male characters. Effective for amateurs, costumes 
of the day. Scene, a room. Time in playing, forty minutes. 

119 A LIFE CHASE. A Drama in five acts, by Adolph 

Belor ; translated by John Oxenford and Horace Wigan. Fourteen male 
and tive female characters. Costumes modern French. Scenery elaborate. 
Time in representation, two hours and twenty minutes. 

120 A TEMPEST IN A TEAPOT. Petite Comedy in one 

act. Two male and one female characters. Admirably adapted for private 
performance. Costumes of the day. Scene, an interior. Time of repre- 
sentation, thirty-live minutes. 

121 A COMICAL COUNTESS. A Farce in one act, by Wil- 

liam Brough. Three male and one female characters. Costumes French. 
of last century. Scene, a drawing room. Time in representation, forty 
minutes. 

122 ISABELLA ORSINI. A romantic Drama in fonr acts, 

by S. H. Mosenthal, Eleven male and four female characters. Costumes 
Italian, three hundred years ago. Scenery complicated. Time in repre- 
sentation, three and a half hours. 

123 THE TWO POLTS. A Farce in one act, by John 

Coii'-tnev Four male and four female characters. Costumes modern. 
SceneryJ a street and two interiors. Time in representation, forty-live 
minutes. 

124 THE VOLUNTEER REVIEW; or. The Little Man in 

Green. A Farce in one act, by Thomas J. Williams. Six male and six 
female characters. Easily localized, as the '• Home Guard/' or " Militia 
Muster/ 1 Costumes of the day ; and scene, a room. Time m representa- 
tion, forty-five minutes. 

125 DEERFOOT. A Farce in one act, by T. C. Burnand. 

Five male and one female characters. Costumes of the day; and scene, a 
public house. Time in playing, thirty-five minutes. 

126 TWICE KILLED. A Farce in one act, by John Ox- 

enford Six male and three female characters. Costumes modern : scene, 
landscape and a drawing room. Time in playing, forty-five minutes. 

127 PEGGY GREEN. A Farce in one act, by Charles Selby. 

Three male and ten female characters. Costumes of the present day. 
Scene, a country road. Time in representation, forty-five minutes. 

128 THE FEMALE DETECTIVE; or. The Mothers Dying 

Child A Drama in three acts, by C. H. Hazlewood. Eleven male and 
four female characters. Costumes of fifty years since. Scenery very 
elaborate. Time of playing two hours. 

129 IN FOR A HOLIDAY. A Farce in one act, by F. C. 
i46,i7 Burnand Two male and three female characters. Costumes ol the period, 

and scene an interior. Time in performance, thirty-five minutes. 

r*0 MY WIFE'S DIARY. A Farce in one act. From the 
wu French of MM. Dennery and Clairville, by T. W. Robertson. Three male 

and one female characters. Costumes modern French, and scene a Irawlng 

room. Time in representation, fifty minutes. 

Ill GO TO PUTNEY. A Farce in one act, by Harry 

Lemon Four male and three female characters. Excellent for amateurs. 
Costumes of the day ; scene, a drawing room. Time m representation, 
forty -five minutes. £) 



DE WITT'S ACTING PLAYS. 



No. 

132 A RACE FOR A DINNER. A Farce in one act, by 

J. F. G. Rodwell. Ten male characters. A sterling piece. Costumes of 
the day. Scene, a tavern exterior. Time in representation, sixty minutes. 

133 TIMOTHY TO THE RESCUE. A Farce in one act, 

by Henry J. Byron. Four male and two female characters. In this 
laughable piece Spangle assumes several personifications. Costumes of 
the day, and scene a plain interior. Time in representation, forty-five 
minutes. 

134 TOMPKINS, THE TROUBADOUR. A Farce in one 

act, by MM. Lockroy and Marc Michel. Three male and two female char- 
acters. Costumes modern, and scene an ironmonger's shop. Time in play- 
ing, thirty-five minutes. 

135 EVERYBODY'S FRIEND. A Comedy in three acts, 

by J. Sterling Coyne. Six male and five female characters. Costumes 
modern, and scenery three interiors. Time in performance, two and a 
half hours. 

136 THE WOMAN IN RED. A Drama in three acts and 

Prologue, by J. Sterling Coyne. Six male and eight female characters. 
Costumes French and Italian. Scenery complicated. Time of playing, 
three hours and twenty -five minutes. 

137 1/ ARTICLE 47; or Breaking the Ban. A Drama in 

three acts, by Adolph Belot, adapted to the English stage by Henry L. 
Williams. Eleven male and five female characters. Costumes French, 
of the day. Scenery elaborate. Time in representation, three hours and 
ten minutes. 

138 POLL AND PARTNER JOE : or, The Pride of Put- 

ney and. the Pressing Pirate. A Burlesque in one act and four scenes, by 
F. C. Burnand. Ten male and three female characters. (Many of the male 
characters are performed by ladies.) Costumes modern, and scenery local. 
Time of playing, one hour. 

139 JOY IS DANGEROUS. A Comedy in two acts, by 

James Mortimer. Three male and three female characters. Costume, 
modern French. Scenery, two interiors. Time in representation, one 
hour and forty-five minutes. 

140 NEVER RECKON YOUR CHICKENS, &o. A Farce 

in one act, by Wybert Reeve. Three male and four female characters. 
Modern costumes, and scene, an interior. Time in representation, forty 
minutes. 

141 THE BELLS ; or, the Polish Jew. A romantic moral 

Drama in three acts, by MM. Erckmann and Chatrain. Nine male and three 
female characters. Costumes Alsatian, of present date. Scenery, two 
interiors and a court room. Time of playing, two hours and twenty min- 
utes. 

142 DOLLARS AND CENTS. An original American Com- 

edy in three acts, by L. J. Hollenius, as performed by the Murray Hill 
Dramatic Association. Nine male and four female characters. Costumes 
modern, and scenery, three interiors and one garden. Time in represen- 
tation, two and three quarter hours. 

143 LODGERS AND DODGERS. A Farce in one act, by 

Frederick Hay. Four male and two female characters. Costumes of 
the present time. Scene, a furnished apartment. Time in representation, 
twenty-five minutes. One character a Yorkshire farmer. 

144 THE LANCASHIRE LASS ; or, Tempted, Tried and 

True. A domestic Melodrama in four acts and a Prologue, by Henry J. 
Byron. Twelve male and three female characters. Costumes of the pres- 
ent day. Scenery, varied and diflicult. Time in representation, three 
hours. 



DE WITT'S ACTING PLAYS. 



Xo. 

145 FIRST LOVE. A Comedy in one act, by Eugene Scribe. 

Adapted to the American stage by L. J. Ilollenius. Four male and one 
female characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time in playing, forty-five minutes. 

146 THERE'S NO SMOKE WITHOUT FIRE. A Come- 

dietta in one act, by Thomas Picton. One male and two female charac- 
ters. Costumes of the present day, and scene, an apartment. Time in 
representation, forty minutes. 

147 THE OVERLAND ROUTE. A Comedy in tbree acts, 

by Tom Taylor. Eleven male and five female characters. Costumes East 
Indian (European). Scenery, steamship saloon and deck, and coral reef. 
Time in representation, two' hours and forty minutes. 

148 CUT OFF 'WITH A SHILLING. A Comedietta in 

one act, by S. Theyre Smith. Two male and one female characters. Scene, 
a drawing room. Time in playing, twenty-five minutes. 

149 CLOUDS. An American Comedy in four acts, by Fred. 

Marsden (W. A. Sliver). Eight male and seven female characters. Cos- 
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time 
in representation, three hours. 

150 A TELL-TALE HEART. A Comedietta in one act, by 

Thomas Picton. One male and two female characters. Excellent for 
private representation. Costumes of the day. Scene, a villa room. Time 
in representation, forty minutes. 

151 A HARD CASE. A Farce in one act, by Thomas 

Picton. Two male characters. A most ludicrous piece for two performers. 
Costumes of the day. Scene, an interior. Time in playing, thirty-five 
minutes. 

152 CUPID'S EYE-GLASS. A Comedy in one act, by 

Thomas Picton. One male and one female characters. Adapted for ama- 
teur performance. Costumes of the day, and scene, a drawing room. 
Time in representation, twenty-five minutes. 

153 'TIS BETTER TO LIVE THAN TO DIE. A Farce 

in one act, by Thomas Picton. Two male and one female characters. Can 
be played readily and effectively by amateurs. Costumes, modern, and 
scene, an anist's studio. Time in representation, forty minutes. 

154 MARIA AND MAGDALENA. A Play in four acts, by 

L. J. Hollenius. Eight male, six female characters. An uniformly good 
stock company is alone needed to properly produce this charming piece. 
Costumes modern. Scenery, fine interiors and beautiful gardens. Time 
in representation, three hours. 

155 OUR HEROES. A Military Play in five acts, eight 

allegorical tableaux, and ten grand pictures, including a grand transfor- 
mation tableau, by John B. Renauld. Twenty-four male and five 
female characters. Large parties af retired volunteers can appear with 
great effect in this play. Costumes modern, civil and military. Scenery, 
interiors of dwellings, encampments and battle-fields. 

156 PEACE AT ANY PRICE. A Farce in one act, by T. 

W. Robertson. One male and one female characters ; but a variety of 
voices are heard throughout the piece, the speakers being invisible. A 
capital sketch for two lively amateur comedians. Costume modern. 
Scenery — there is but one scene throughout the piece — a meanly furnished 
apartment. Time in representation, twenty minutes. 

157 QUITE AT HOME. A Comedietta in one act, by Arthur 

Sketchley. Five male and two female characters. A real lively taking 
piece. All the characters passable. Costumes modern. Scenery, a shab- 
bily furnished apartment. Time in representation, forty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

158 SCHOOL. A Comedy in four acts, "by T. W. Robertson. 

Six male and six female characters. Is a very superior piece, and has 
three characters unusually good for either sex. Could be played with fine 
effect at a girls' seminary. Costumes modern. Scenery, English land- 
scape and genteel interiors. Time in representation, two hours and forty 
minutes. 

159 IN THE WRONG HOUSE. A Farce in one act, by 

Martin Becher. Four male and two female characters. A very justly 
popular piece. Two of the male characters are excellent for light and low 
comedian. Good parts, too, for ayoung and old lady. m Costumes modern. 
Scenery, an ordiuary room. Time in representation, twenty-five minutes. 

160 BLOW EOR BLOW. A Drama in a Prologue and 

three acts, by Henry J. Byron. Eleven male and six female characters. 
Full of homely pathos as well as rich humor. Has several excellent parts. 
Costumes modern. Scenery, interiors of offices and dwellings. Time in 
representation, three hours. 

161 WOMAN'S VOWS AND MASONS' OATHS. In four 

acts, by A. J. H. Duganne. Ten male and four female characters. Has 
effective situations, fine characters and beautiful dialogues. Costumes 
modern, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time in performance, two 
hours and thirty minutes. 

162 UNCLE'S WILL. A Comedietta in one act, "by S. 

'iheyre Smith. Two male and one female characters. A brilliant piece ; 
can be easily played in a parlor. Costumes modern, and naval uniform 
for Charles, * Scenery, set interior drawing room. Time in representation, 
thirty minutes. 

163 MARCOHETTI. A romantic Drama in three acts, "by 

John ?d. Kingdom. Ten male and three female characters. A thrillingly 
effective piece, full of strong scenes. Costumes, brigands and rich Italian's 
dress. Scenery, interior of castle, mountain passes, and princely ball 
room. Time in representation, two hours. 

164 LITTLE RUBY ; or, Home Jewels. A domestic Drama 

in three acts, by J. J. Wallace. Six male and six female characters. 
This drama is at once affecting and effective. Little Ruby fine per- 
sonation for young prodigy. Costumes modern. Scenery, interior of 
dwelling and gardens. Time in representation, two hours. 

165 THE LIVING STATUE. A Farce In one act, by Joseph 

J. Dilley and James Allen. Three male and two female characters. Brim- 
ful of fun. Trotter a great character for a droll low comedian. Costumes 
modern, with one old Roman warrior dress. Scenery, a plain interior. 

166 BARBELL vs. PICKWICK. A Farcical sketch in 

one act, arranged from Charles Dickens. Six male and two female cha- 
racters. Uncommonly funny. Affords good chance to 'take off" local 
legal celebrities. Costumes modern. Scenery, a court room. Time in 
performance, thirty minutes. 

167 APPLE BLOSSOMS. A Comedy in three acts, by James 

Albery. Seven male and three female characters. A pleasing piece, 
with rich part for an eccentric comedian. Costumes modern English. 
Scenery, exterior and interior of inn. Time in representation, two hours 
and twenty minutes. 

168 TWEEDIE'S RIGHTS. A Comedy in two acts, by 

James Albery. Four male and two female characters. Has several ex- 
cellent characters. John Tweedie, powerful personation ; Tim "Whiffler 
very funny. Costumes modern. Scenery, a stone mason's yard and 
modest interior. Time in representation, one hour and twenty -five 
minutes. 



DE WITT'S ACTING PLAYS. 



No. 

169 MY UNCLE'S SUIT. A Farce in one act, by Martin 

Becher. Four male and one female characters. Has a jolly good low 
% comedy part, a fine light comedy one, and a brisk, pert lady's maid. 
Costumes modern. Scenery, a well furnished sitting room. Time in rep- 
resentation, thirty minutes. 

170 ONLY SOMEBODY; or, Dreadfully Alarming. A 

Farce in one act, by Conway Edwardes and Edward Cullerne. Four 
male and two female characters. Immensely funny. Full of queer 
incidents. Every way fitted for amateurs. Costumes modern. Scenery, 
a garden and back of a house. Time of playing, thirty minutes. 

71 NOTHING LIKE PASTE. A Farce in one act, by Chas. 

Marsham Rae. Three male and one female characters. Every character 
superexcellent. Billy Doo a regular Burtonian part. Admirable piece 
for amateurs. Costumes modern. Scenery, exterior of a small villa, with 
gardens. Time in representation, forty minutes. 

172 OURS. A Comedy in three acts, "by T. W. Robertson. 

Six male and three female characters. One of the best and most admired 
plays in our language— while a fair stock company can play it acceptably. 
It has several characters fit for stars. Costumes modern, with British 
military uniforms. Scenery, gardens, park, drawing room, and rude hut 
in the Crimea. Time of representation, two hours and thirty minutes. 

173 OFF THE STAGE. An entirely original Comedietta 

in one act, by Sydney Rosenfeld. Three male and three female characters, 
all equally excellent. One of the sprightliest, wittiest and most amusing 
little plays ever written, causing almost an hour's constant merriment. 
Costumes modern. Scene a handsome interior. 

174 HOME. A Comedy in three acts, by T. W. Robertson. 

Four male, three female characters. A charming piece. Needs but a 
small company. Every character very good. Costumes modern. Only one 
scene throughout the play. Time of representation, two hours. 

175 CAST UPON THE WORLD. An entirely Original 

Drama in five acts, by Charles E. Newton. Ten male, five female charac- 
ters. A remarkably effective piece. Costumes modern. Scenery some- 
what elaborate, but very fine. Time of representation, two hours and 
thirty minutes. 

176 ON BREAD AND WATER. A Musical Farce in one 

act, being a free adaptation from the German, by Sydney Rosenfeld. A 
rollicking little piece. One male and two female characters. Containing a 
brilliant soubrette part. Costumes modern. Scene an uncarpeted school 
room. Time in representation, twenty-five minutes. 

177 I SHALL INVITE THE MAJOR. A Parlcr Comedy 

in one act, by G. von Moser. Containing five characters, four male and 
one emale. A very pleasing little play, with good parts for all. Very 
bright and witty. Costumes modern. Scene, a handsome interior. Time 
in representation, forty minutes. 

178 OUT AT SEA. An entirely Original Romantic Drama 

in a prologue and four acts, by Charles E. Newton. Sixteen male, five 
female characters. Powerfully written. Full of strong situations. Very 
telling scenic effects. Costumes modern, Time in representation, two 
hours and ten minutes. 

179 A BREACH OF PROMISE. An extravagant Comic 

Drama in two acts, by T. W. Robertson. Five male, two female charac- 
ters. A capital, very merry piece. Good for amateurs. Time in repre- 
sentation, one hour. SceneVy, two interiors. Costume, modern. 

180 HENRY THE FIFTH. An Historical Play in five acts. 

By William Shakspeare. Thirty-eight male, five female characters. This 
grand play has a rare blending of the loftiest tragedy, with the richest and 
broadest humor. This edition is the most complete in every respect ever 
published. Costumes rich and expensive. Scenery, etc., very elaborate. 
Time of representation, three hours. 



DE WIiT'S ACTING PLAYS. 



181 

and 

182 
183 



184 



185 



186 



187 



I QUEEN MARY. A Drama, by Alfred Tennyson. The 

only untaatilated edition. Arranged for the stage in font* acts. [The por- 
tions of the play to 1)3 omitted in representation are very carefully 
1 marked.] Edited by John M. Kingdom. Thirty-seven male, nine female 
characters. A noble play, fall of grand characters, and grave, sonorous 
and exquisite poetry. Costumes very rich. Scenery magnificent and ex- 
pensive. Time in representation, three hours and a half. Tliis is a 
double number, Price 30 Cents. 

RICHELIEU; or, The Conspiracy. A Play in five acts, 

by Sir Edward Lyttou Buhver. An entirely new acting edition. Twelve 
male, two female characters. One of the most popular plays ever pro- 
duced. Costumes and scenery picturesque and magnificent. Time in re- 
presentation, three hours and a quarter. 

MONEY. A Comedy in five acts, by Sir Edward Lytton 

Buhver. Sixteen male, three female characters. Fuil of fine situations 
and beautiful language. Costumes modern; scenery, fashionably furnished 
rooms. Time in representation, three hours and a half. 

NOT SO BAD AS WE SEEM ; or, Many Sides to a 

Character. A Play in five acts, by Sir Edward Lytton Buhver. An en- 
tirely new acting edition. A fi lely written romantic piece. Thirteen 
male, three female characters. Costumes of the nay of Prince Charlie, the 
Pretender. Scenery rich ; drawing room of same time. Time in repre- 
sentation, three hours and a quarter. 

THE DUCHESS DE LAVALLIERE. A Play in five 

acts, by Sir Edward Lytton Balwer. Six male, four female characters. 
Some of the acts are very powerful and emotional. Costumes costly and 
elegant. Scenery in pa'aces and convents. Time in representation, three 
hours and thirty minutes. 

HIS OWN ENEMY. A Farce in one act, by the anthor 

of " The Happy Pair." Five male, one female characters. An exceedingly 
pleasant, witty piece. Costumes modern; scene, a handsome parlor. 
Time in representation, fifty-five minutes. 

188 MR. X. A Farce in one act, by Sydney Rosenfeld. 

Three male and three female characters. An excruciatingly funny little 
piece, as full of life as prime Cliquot. Costumes modern ; scene, a sitting 
room. Time in representation, fifty minu.es. 

189 LEAP YEAR. A Musical Duality, by Alfred B. Sedg- 

wick. The music adapted from Offenbach's " Genevieve de Brabant. 1 ' 
One male, one female character. Costumes modern. Scene, a handsome 
parlor. Time in representation, twenty minutes. 

190 HUNTING THE SLIPPERS ; or, Painless Dentistry. 

A Farce in one scene, by Martin Becher. Four male, one female char- 
acters. A rattling comic piece. Costumes modern ; scene, a dentist's 
operating room. Time in representation, thirty -five minutes. 

191 HIGH C. A Comedietta in one act (very freely adapt- 

ed from the German of M. A. Grandjean), by Sydney Rosenfeld. Three 
male, one female characters. Very droll and sprightly. Costumes modern ; 
scene, a well furnished room. Time in representation, forty minutes. 

192 A GAME OF CARDS. A Comedietta in one act. Trans- 

lated from the French by L. J. llollenius. Three male, one female char- 
acters. So excellent is this little piece t'mt it has been successfully played 
in France, Germany and Denmark. Costumes modern ; scene, a handsome 
parlor. Time in representation, forty-five minutes. 

193 MY WALKING PHOTOGRAPH. A Musical Du- 
ality in one scene. Music arranged from " La Fill e de Madame Angot,"- 
by Alfred B. Sedgwick. One male, one female character. Scene, handsome 
parlor ; costumes modern. Time in representation thirty minutes. 




" Let those laugh now who never laughed before ; 
And those who always laughed now laugh the more.'" 

Nothing so thorough and complete in the way of Ethiopian 
and Comic Dramas has ever been printed as those that appear 
in the following list, Not only are the plots excellent, the char- 
acters droll, the incidents finny, the language humorous, but 
all the situations, by-play, positions, pantomimic business, 
scenery and tricks are so plainly set dozun and clearly explained, 
that the merest novice could put any of them on the Stage. In- 
cluded in this Catalogue are all the most laughable and effective 
pieces of their class ever produced. 

*#* In ordering, please copy the figures at the commencement of each 
Play, which indicate the number of the piece in " De Witt's Ethiopian 
and Comic Drama." 

jfcif Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 

Address as on first page of this Catalogue. 



xde wm's masms # comic dbama, 

No. 

1 THE LAST OF THE MOHICANS. An Ethiopian Sketch, 

by J. C. Stewart. Three male and one female characters. Costume a of 
the day, except Indian shirts, &c. Two scenes, chamber and wood. Time 
in representation, eighteen minutes. 

2 TRICKS. An Ethiopian Sketch, by J. C. Stewart. Five 

male and two female characters. Costumes of the period. Two scenes, 
two interiors. Time in representation, eighteen minutes. 

3 HEMMED IN. An Ethiopian Sketch, by J. C. Stewart. 

Three male and one female characters. Costumes modern, and scene, a 
studio. Time in representation, twenty minutes. 

4 EH ? WHAT IS IT ? An Ethiopian Sketch, by J. C. Stewart, 

Four male and one female characters. Costumes of the day, and scene, a 
chamber. Time in representation, twenty minutes. 

5 TWO BLACK ROSES. An Ethiopian Sketch, by J. C. 

Stewart. Four male and one female characters. Costumes modern, and 
scene, an apartment. Time in representation, twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

6 THE BLACK CHAP FROM WHITECHAPEL. An 

eccentric Negro Piece, adapted from Burnand and Williams 1 *'B. B " by- 
Henry L. William^, Jr. Four male characters. Costumes modem. Scene, 
an interior. Time in representation, thirty minutes. 

7 THE STUPID SERVANT. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Characters very droll ; 
fit for star " darky " players. Costumes modern and fantastic dresses. 
Scenery, an ordinary room, 'lime ia representation, twenty minutes. 

8 THE MUTTON TRIAL. An Ethiopian Sketch in two 

scene*, by James Maffit. Four male characters. Capital burlesque of 
courts of ''justice;'" all the parts good. Costumes modern a»nd Quaker. 
Scenery, a wood view and a court room. Time in representation, wventy 
minutes. 

9 THE POLICY PLAYERS. An Ethiopian Sketch in one 

scene, by Charles White. Seven male characters. A very clever satire upon 
a sad vice. Costumes modern, and coarse negro ragged clothes. Scenery, 
an ordinary kitchen. Time in representation, twenty minutes. 

10 THE BLACK CHEMIST. An Ethiopian Sketch in one 

scene, by Charles Wh te. Three male characters. All the characters are 
A 1, funny in trie extreme. Costumes modern or Yankee —extravagant. 
Scenery, an apothecary's laboratory. Time in representation, seventeen 
minutes. 

11 BLACK-EYB WILLIAM. An Ethiopian Sketch in two 

scenes, by Charles White. Four male, one female characters. All the 
parts remarkably good. Costumes as extravagant as possible. Scenery, a 
police court room. Time in representation, twenty minutes. 

12 DAGUERREOTYPES. An Ethiopian Sketch in one 

scene, by Charles White. Three male characters. Full of broad humor ; 
all characters excellent. Costumes modern genteel, negro and Yankee 
garbs. Scenery, ordinary room with camera, Time in representation, 
fifteen minutes. 

13 THE STREETS OF NEW YORK; or, New York by 

Gaslight. An Ethiopian Sketch in one scene, by Charles White. Six male 
characters. Three of the parts very droll ; others good. Costumes some 
modern, some Yankee and some loaferish. Scenery, street view. Time 
in representation, eighteen minutes. 

14 THE RECRUITING OFFICE. An Ethiopian Sketch in 

one act, by Charles White. Five male characters A piece full of incidents 
to raise mirth. Three of the parts capital. Costumes extravagant, white 
and darkey, and a comical uniform. Scenery, plain chamber and a street. 
Time in representation, fifteen minutes. 

15 SAM'S COURTSHIP. An Ethiopian Farce in one act, 

by Charles White. Two male and one female characters. All the charac- 
ters particularly jolly. Two of the parts can be played in either white or 
black, and one in Dutch. Costumes Yankee and modern. Scenery, plain 
chamber. Time in representation, twenty minutes. 

16 STORMING THE FORT. A burlesque Ethiopian Sketch 

in one scene, by Charles White. Five male characters. Richlydudicrous ; 
all the characters funny. Costumes fantastical, and extravagant military 
uniforms. Scenery, ludicrous "take off" of fortifications. Time in repre- 
sentation, fifteen minutes. 

17 THE GHOST. An Ethiopian Sketch in one act, by 

Charles White. Two male characters. A right smart piece, full of laugh. 
Costumes ordinary " darkey " clothes. Scenery common looking kitchen. 
Time in representation, fifteen minutes. 

18 THE LIVE INDIAN ; or, Jim Crow. A comical Ethi- 

opian Sketch in four scenes, by Dan Bryant. Four male, one female 
characters. As full of fun as a hedgehog is full of bristles. Costumes 
modern and darkey. Scenery, chamber and street. Time in representation, 
twenty minutes. t 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

19 MALICIOUS TRESPASS: or, Points of Law. An Ethi- 

opian Sketch in one scene, by Charles White. Three male characters. 
Extravagantly comical ; all the parts very pood. Costumes extravagant 
modern garbs. Scenery, wood or landscape. Time of playing, twenty 
minutes. 

20 GOING FOR THE CUP ; or, Old Mrs. Williams' Dance. 

An Ethiopian Interlude, by Charles White. Four male characters. One 
capital part for a bright juvenile ; the others very droll. Costumes modern 
and darkey. Scenery, a landscape or wood. Time in representation, 
twenty minutes. 

21 SCAMFINI. An anti-tragical, comical, niajvic«.l and 

launchable Pantomime, full of tricks and transformations, in two scenes, 
by Edward Warden. Six male, three female characters. Costumes extra- 
vagantly eccentric. Scenery, plain rustic chamber. Time in represent** 
tion, thirty minutes. 

22 OBEYING ORDERS. An Ethiopian Military Sketch in 

one scene, by John Arnold. Two male, one female characters. Mary 
Jane, a capital wench part. The piece very jocose. Costumes ludicrous 
military and old style dresses. Scenery either plain or fancy chamber. 
Time of playing, fifteen minutes. 

23 HARD TIMES. A Ne>ro Extravaganza in one scsne, 

by Daniel D. Emmett. Five male, one female characters. Needs several 
good players— then there is "music in the air.' 1 Costumes burlesque, 
fashionable and low negro dresses. Scenery, a kitchen. Time in represen- 
tation, twenty minutes. 

24 BRUISED AND CURED. A Negro Burlesque Sketch in 

one scene, by A. J. Leavitt. Two male characters. A rich satire upon 
the muscular furore of the day. Costumes tights and guernsey shirts 
and negro dress. Scenery, plain chamber. Time in representation, twenty 
minutes. 

25 THE FELLOW THAT LOOKS LIKE ME. A laughable 

Interlude in one scene, by Oliver Durivarge. Two male characters— one 
female. Boiling over with fun, especially if one can make up like Lester 
Wallack. Costumes genteel modern. Scenery, handsome chamber. Time 
in representation, twenty-five minutes 

26 RIVAL TENANTS. A Ne^ro Sketch, by George L, Stout. 

Four male characters. Humorously satirical ; the parts all very funny- 
Costumes negro and modern. Scenery, an old kitchen. Time of playing, 
twenty minutes. 

27 ONE HUNDREDTH NIGHT OF HAMLET. A Negro 

Sketch, by Charles White. Seven male, one female characters. Affords 
excellent chance for imitations of popular "stars." Costumes modern, 
some very shabby. Scenery, plain chamber. Time in representation, 
twenty minutes. 

28 UNCL3 EPH'S DREAM. An Original Ne^ro Sketch in 

two scenes and two tableaux, arranged by Charles White. Three male. 
one female characters. A very pathetic little piece, with a sprinkling of 
humor. Costumes, a modern southern drese r and negro toggery. Scenery, 

wood, mansion and negro hut. Time in representation, twenty minutes. 

29 WHO DIED FIRST? A No^ro Sketch in one Scene, by 

A. J. Leavitt. Three male, one female characters. Jasper and Hannah 
are both very comical personages. Costumes, ordinary street dress and 
common darkey clothes. Scenery, a kitchen. Time in representation, 
twenty minutes. 

30 ONE NIGHT IN A BAR ROOM. A "urlesque Sk^ch, 

arranged by Charles White. Seven male characters. lias a funny Dutchman 
and two good darkey characters. Costume, one Dutch and several mod- 
ern. Scenery, an ordinary interior. Time in representation, twenty min- 
utes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 

No. 

31 GLYCERINS OIL. An Ethiopian Sketch, by John Ar- 

nold. Three male characters, all good. Costumes, Quaker aud eccentric 
modern. Scenery, a street and a kitchen. Time in representation, fifteen 
minutes. 

32 WAKE UP, WILLIAM HENRY. A Ne^ro Sketch, ar- 

ranged by Charles White. Three male characters, which have been favor- 
ites of our best performers. Costumes modern — some eccentric. Scenery 
plain chamber. Time in representation, ten minutes. 

33 JEALOUS HUSBAND. A Negro Sketch, arranged by 

Charles White. Two male, one female characters. Full of farcical dia- 
logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham- 
ber. Time in representation, twenty minutes. 

34 THREE STRINGS TO ONE BOW. An Ethiopian Sketch 

in one scene, arranged by Charles WLite. Four male, one female charac- 
ters. Full of rough, practical jokes. Costumes, modern. Scenery, a land- 
scape. Time m representation, fifteen minutes. 

35 COAL HEAVERS' REVENGE. A Negro Sketch in one 

scene, by George L. Stout. Six male characters. The two coal heavers 
have " roaring 11 parts. Costumes, modern, Irish and negro comic make 
up. Scenery, landscape. Time in representation, twenty minutes. 

36 LAUGHING GAS. A Negro Burlesque Sketch in one 

scene, arranged by Charles White. Six male, one female characters. Is a 
favorite with our best companies. Costumes, one modern genteel, the rest 
ordinary negro. Scenery, plain chamber. Time of playing, fifteen min- 
utes. 

37 A LUCKY JOB. A Negro Farce in two scenes, arranged 

by Charles White. Three male, two female characters. A. rattling, lively 
piece. Costumes, modern and eccentric. Scenery, street and fancy cham- 
ber. Time in representation, thirty minutes. 

38 SIAMESE TWINS. A Negro Burlesque Sketch, in two 

scenes, arranged by Charles White. Five male characters. One of the 
richest in fun of any going. Costumes, Irish, darkey and one wizard's 
dress. Scenery, a street and a chamber. Time in representation, twenty- 
five minutes. 

39 WANTED A NURSE. A laughable S etch in one 

scene, arranged by Charles White. Four male characters. All the charac- 
ters first rate. Costume, modern, extravagant, one Dutch dress. Scenery, 
a plain kitchen. Time in representation, twenty minutes. 

40 A BIG MISTAKE. A Negro Sketch in one scene, by 

A. J. Leavitt. Four male characters. Full of most absurdly funny inci- 
dents. Costumes, modern ; one policeman's uniform. Scenery, a plain 
chamber. Time in representation, eighteen minutes. 

41. CREMATION. An Ethiopian Sketch in two scenes, by 

A. J. Leavitt. Eight male, one female characters. Full of broad, palpable 
hits at the last sensation. Costumes modern, some eccentric. Scenery, a 
street aDd a plain chamber. Time in representation, twenty-five minutes. 

42. BAD WHISKEY. A comic Irish Sketch in one scene, 

by Sam Rickey and Master Barnej. Two male, one female characters. 
One of the very best of its clas*s. Extravagant low Irish dress and a police- 
man's uniform. 

43 BABY ELEPHANT. A Negro Sketch in two scenes. 

By J. C. Stewart. Seven male, one female characters. Uproariously comic 
in idea and execution. Costumes, modern. Scenery, one street, cne 
chamber. Time in representation, twenty-five minutes. 

44 THE MUSICAL SERVANT. An Ethiopian Sketch in 

one scene, by Phil. H. Mowrey. Three male characters. Very original 
and very droll. Costumes, modern and low darkey. Scenery, a plain 
chamber. Time in representation, fifteen minutes. 



45 REMITTANCE FROM HOME. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. A very lively piece, 
full of bustle, and giving half a dozen people a good chance. Time in repre- 
sentation, twenty minutes. 

46 A SLIPPERY DAY. An Ethiopian Sketch in one scene, 

by Robert H art. Six male, one female characters. By a very simple mechan- 
ical contrivance, plainly planned and described in this book, a few persona 
can keep an audience roaring. Time in representation, sixteen minutes. 

47 TAKE IT, DON'T TAKE IT. A Negro Sketch in one 

scene, by John Wild. Two male characters. Affords a capital chance for 
two good persons to "do 11 the heaviest kind of deep, deep tragedy. 
Time of representation, twenty-three minutes. 

48 HIGH JACK, THE HEELER. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. Happily hits off the short- 
haired bragging "lighters 1 ' that can't lick a piece of big tally. Time of 
playing, twenty minutes. 

49 ANIGHT IN A STRANGE HOTEL, A laughable Negro 

Sketch in one scene, arranged by Charles White. Two male characters. Al- 
though this piece has only two personators, it is full of fun. Tia:e in rep- 
resentation, eighteen minutes. 

50 THE DRAFT. A Negro Sketch in one act and two scenes, 

by Charles White. Six male characters. A good deal of humor of the Mulli- 
gan Guard ; nd Awkward Squad style, dramatized. Time in representation, 
eighteen minutes. 

51 FISHERMAN'S LUCK. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Decidedly the best "fish 
story " ever told. It needs two ei star " darkeys to do it. Time in represen- 
tation, fifteen minutes. 

52 EXCISE TRIALS. A Burlesque Negro Sketch in one 

scene, arranged by Charles White. Ten male, one female characters. Full of 
strong local satire ; can be easily adapted to any locality. Time of repre- 
sentation, twenty minutes. 

53 DAMON AND PYTHIAS. A Ne S ro Burlesque, hy Chas. 

White. Five male, one female characters, in two scenes. A stunning bur- 
lesque of the highfalutin melodrama ; capital for one or two good imita- 
tors. Time of representation, fifteen minutes. 

54 THEM PAPERS. An Ethiopian Sketch in one scene, by 

A. J. Leavitt. Three male characters. Full of comical mystifications and 
absurdly funny situations. Time of representation, fifteen minutes. 

55 RIGGING A PURCHASE, A Negro Sketch in one scene, 

by A. J. Leavitt. Three male characters. Full of broad comical effects. 
Time in representation, fifteen minutes. 

56 THE STAGE STRUCK COUPLE. A laughable Inter 

hide in one scene, by Charles White. Two male, one female characters. 
Gives the comical phase of juvenile dramatic furor; very droll, contrasted 
with the matter-of-fact darkey. Time in representation, fifteen minutes. 

57 POMPEY'S PATIENTS. A laughable Interlude in two 

scenes, arranged by Charles White. Six male characters. Very funny 
practical tricks of a fast youth to gain the governor's consent to his wed- 
ding his true love. Half a do/en good chances for good actors. Time in 
representation, twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA, 

No. 

58 GHOST IN A PAWN SHOP. An Ethiopian Sketch in 

one scene, by Mr. Mackey. Four male characters. As comical as its title ; 
running over with practical jokes. Time of representation, twenty min- 
utes. 

59 THE SAUSAGE MAKERS, A Negro Burlesque Sketch 

in two scenes, arranged by Charles White. Five male, one female charac- 
ters. An old story worked up with a deal of laughable effect. The ponder- 
ous sausage machine and other properties need not cost more than a 
couple of dollars. Time of representation, twenty minutes. 

60 THE LOST WILL. A Negro Sketch, hy A. J. Leavitt. 

Four male characters. Very droll from the word "go." Time of repre- 
sentation, eighteen minntes. 

61 THE HAPPY COUPLE, A Short Humorous scene, ar- 

ranged by Charles White. Two male, one female characters. A spirited 
burlesque of foolish jealousy. Sam is a very frolicsome, and very funny 
young darkey. Time of playing, seventeen minutes. 

82 VINEGAR BITTERS. A Negro Sketch in one scene, ar- 
ranged by Charles White. Six male, one female characters. A broad bur- 
lesque of the popular patent medicine business ; plenty of humorous inci- 
dents. Time of representation, fifteen minutes. 

63 THE BARKEY'S STRATAGEM. A Negro Sketch in one 

act, arranged by Charles White. Three male, one female characters. Quaint 
courtship scenes of a pair of young darkies, ludicrously exaggerated by the 
tricks of the boy Cupid. Time of representation, twenty minutes. 

64 THE DUTCHMAN'S GHOST. In one scene, "by Larry 

Tooley. Four male, one female characters. Jacob Schrochorn, the jolly 
shoemaker and ]»is frau, are rare ones for raising a hearty laugh. Time of 
representation, fifteen minutes. 

65 PORTER'S TROUBLES. An Amusing Sketch in one 

scene, by Eel. Harrigan. Six male, one female characters. A laughable ex- 
position of the queer freaks of 
poor "porter/'' Time in representation, eighteen minutes. 

66 PORT WINE V3. JEALOUSY. A Highly Amusing 

Sketch, by William Carter. Two maie, one female characters. Twenty 
minutes jammed full of the funniest kind of fun. 

61 EDITOR'S TROUBLES. A Farce in one scene, fcy Ed- 
ward Harrigan . Six male characters. A broad farcical description of the 
running of a country journal u under difficulties." Time of representa- 
tion, twenty-three minutes. 

68 HIFPOTHEATRON OR BURLESQUE CIRCUS. An 

Extravagant, funny Sketch, by Charles White. Nine male characters. A 
rich burlesque of sports in the ring and stone smashing prodigies. Time of 
playing, varies with "acts 1 ' introduced. 

69 SQUIRE TOR A BAY. A Negro Sketch, by A. J. 

Leavitt. Five male, one female characters. The " humor of it " is in the 
mock judicial antics of a darkey judge for a day. Time of representation, 
twenty minutes. 

'TO GUIDE TO THE STAGE. An Ethiopian Sketch, hyChas. \ 

White. Three male characters. Contains some thumping theatrical hits of 
the " Lay on Macduff," style. Time of playi-ng, twelve minutes. 

- 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 



71 IN AND OUT. A Negro Sketch in one scene, T»yA. J. 

Leavitt. Two male characters. A very droll, lively bit of fan. Time in 
representation, eighteen minutes. 

72 THE STR/1NGEE. A Burlesque Nesro Sketch in one 

scene by A J. Leavitt. One male, one female characters. An extravagantly 
comical " take on! " of Kotzebues 1 doleiul drama, Time in representation, 
ten minutes. 

73 THE AFRICAN BOX s or, THE MAGICIAN'S TROUB- 

les A Burlesque on the " Box Mystery," in two scenes, arranged by C har- 
les White. Brimful of roaring fan. Five male characters. Time in re- 
presentation, twenty minutes. 

74 THE SLEEPWALKER. An Ethiopian Sketch in two 

scene* by A J. Leavitt. Three male characters. A cornucopia of irre- 
pressible cacchination. Time in representation, twenty minutes. 

75 WESTON THE W ALKIST. A very Anvxiing Sketch in 

one scene, by John Mack. Seven male, one female characters. A capital 
hit at the » thousand miles in a thousand hours'"' mania. Time in repre- 
sentation, twenty minutes. 

7B 1 * 3(oi*"BOUN€3"). A Negro Sketch in one scene, by 

' John Wild. Shows a happv style of getting rid of troublesome intruders. 

Six male, one female characters. Time in representation, twenty minutes. 

77 GETTING SQUARE ON THE CALL BOY. A Hnmor- 
Otis Ne*ro Sketch in one scene, arranged by Charles White. Three male 
characters. A capital game of "tit for tat." Time m representation, fif- 
teen minutes, 

•78 THE BOGUS INJUV. A very laughable Sketch in four 

scenes arranged by Charles White. Five male, two female characters. 
Snowing the effect of introducing '_' ye noble savage " into drawing rooms. 
Time of representation, sixteen minutes. 

79 BARNEY'S COURTSHIP ; or MOLLIE,- BEAR, A 

V • muSSf Inteiludein one act, by Harry Macartny. One male, two female 
characters. This is one of the cleverest little Irish musical pieces on the 
stage. Time in representation, thirty minutes, 

80 SCENES ON THE MISSISSIPPI. A real (Southern) 

darkey sketch, in two scenes, by Buckley's Minstrels. Six male characters. 
Full of " de ole plantation ° fun. Time in representation, twenty-five min- 
utes. 

£1 RIVAL ARTISTS. A Negro Sketch in one scene, , ay- 

ra i o-ed by Charles White. Four male characters. Lots of fun, spiced with 
satire. Time in representation, eighteen minutes. 

82 GOOD NIGHT'S REST. A Sketch in one scene, arrang- 
ed bv Charles White. Four male characters. Amusingly shows how the 
weary traveller is " taken in and done for." Time in representation, fif- 
teen minutes. 

1 83 THB GERMAN EMIGRANT. A Laughable Sketch 
in one scene, by Larry Tooley. Two male, two female characters. Full of 
funny action and humorous talk. Time in representation, twenty minutes. 

I 84 THE SERENADE. A Ne^ro Sketch, in two scenes, ar- 
| ranged by Charles White. Rich, broad humor hubbies up m every page. 

Seven male characters. Time of playing, seventeen minutes. 

I 85 THE YOUNG SCAMP. A Bark ey Sketch in one scene, 
bv kdd Weaver. Three male characters. The players that can t tickle 
an audience with this piece, had better "hang up de fiddle and de bow. 
Time in representation, fifteen minutes. 



HAHtTSCaiPT PUTS, 



Below will be found a List of nearly all the great Dramatic 
successes of the present and past seasons. Every one of these 
Plays, it will be noticed, are the productions of the most eminent 
Dramatists of the age. Nothing is omitted that can in any 
manner lighten the duties of the Stage Manager, the Scene 
Painter or the Property Man. 

NOTE — In this list D. stands for Drama, C. for Comedy, P. for Play, F. for 
Farce, A. for Act, m. for male, /. for female. 



ON THE JURY. D. 4 A. By Watts Phillips. 7 m. 4/. 

ELFIE ; or, THE CHERRY TREE INN. D. 3 A. By Boncicault. 6 m. 4f. \ 

THE TWO THORNS. 0. 4 A. By James Albery. 9 m. 3 /. 

A WRONG MAN IN THE RIGHT PLACE. F. 1 A. By Oxcnford. 1 m. 3/. 

JEZEBEL ; or, THE DEAD RECKONING. P. By Boncicault. 6 m~ 5 f. j 

THE RAPAREE. D. 3 A. By Dion Boucicanlt. 9 m. 2 f. 

'TWIXT AXE AND CROWN. P. 5 A. By Tom Taylor. 25 m. 12 f. 

THE TWO ROSE 3. G. 3 A. By James Albery. 5 in. 4 /. 

M. P. (Member of Parliament.) C. 4 A. By T. W. Robertson. 7 m. of. 

MARY WARNER. D. 4 A. By Tom Taylor. 11 m. 5 /. 

PHIL03IEL. Romantic D. 3 A. By H. T. Craven. 6 m. if. 

UNCLE DICK'S DARLING. J). 3 A. By Henry J. Byron. 6 m. 5 /. 

LITTLE EM'LY. D. 4 A. By Andrew Halliday. 8 m. 8/. 

FORMOSA. D. 4 A. By Dion Boncicault. 13 m. 8/. 

AN ENGLISH GENTLEMAN. J). 4 A. By Henry J. Byron. 9 m 4/. 

FOUL PL AY. D. 4 A. By Dion Boncicault. 1 i m. 2 f. 

AFTER DARK. D. 4 A, By Dion Boncicault. 14 m. 2 f. 

ARRAH-NA-POGUE. D. 3 A. By Don Boncicault. 14 m. 2 f. 

BLACK AND WHITE, D. 3 A. By Wilkie Collins and C. Fechter. 6 m. 2/ \ 

PARTNERS FOR LIFE. C. 3 .1. By Henry J. Byron. 7 m. 4 /. 

KERRY ; or, NIGHT AND MORNING. C. 1 A. By Boncicault. 4 m. 2 f. j 

HINKO. P. 5 .4. By W. G. Will3. 10 m. If 

NOT IF I KNOW IT. F. 1 A. By John Maddison Morton. 4 »fc 4 /. 

DAI3 Y FAR II. D. 4 A. By Henry J. Byron. 10 m. 4 /. 

EILEEN OGE. D. 4 .4. By Edmund Falconer. 15 m. 4f. 

NOTRE DAME. D. 3 A. By Andrew Halliday. 7 m. 4/. 

.JOAN OF ARC. T 7 . 5 4. By Tom Taylor. 21 m. 4 /. 

OUR AMERICAN COUSIN. C. 3 A. By Tom Taylor. 10 m. 7 /. 

.JANET PRIDE. P. Prologue and 4 A. By Dion Boncicault. 9 m. 3 /*. 

.JENNIE DEANS. D. 3 .4. By Dion Boncicault 12 m. 5 /. 

THE FAIRY CIRCLE. Fairy D. 2 A. 8 m. 4/. 

OUR BOYS. 6 T . 3 A. By H. J. Byron. 6 m. 4/. 

ULTIMO; or, MONEY AND BRAIDS. By G. VonMoser. Co A. 8 m. If. 



M^» Manuscript copies of these very effective and very suc- 
cessful plays are now ready, and will be furnished to Man- 
agers on very reasonable terms. 



No. 
88 
86 
8-* 
88 

»o 
oi. 

OS 
94 

95 



lOO. 
lOS. 
183. 

104. 
IOC. 

187. 
HO, 

114. 
115. 

no. 
117. 

125. 
193. 
184. 
185. 
1ST. 
188. 
189. 
130. 

131. 

138. 
133. 
134. 
135. 

138. 



Composer, 

. Last Fa f w ell Tucker. 

. My Heart is Thine Alone. .Glover. 

. Come Back to Erin Claribel. 

. Morn on the Meadow. . .Wrighton. 

. Sad Brown Leaves Chan trey. 

Fond Memory Glover. 

. I Heard a Spirit Sing Taylor. 

. Autumn Twilight Glorer. 

. Rocked in the Cradle of the 

Deep Tucker. 

. Origin of the Harp Moore. 

Strangers Yet Claribel. 

Sweet Land of Tyrol Theresa. 

My Pretty Bird, Sing On. 

Lindbland. 

Spring and Autumn Tucker. 

Upon the Snowy Mountain Tops. 

Moller. 

Ave Maria Guonod. 

Believe Me if all Endearing 

Charms Moore. 

Children's Voices f . . . .Claribel. 

Long, Long Weary Day.. .Tucker. 
Why was I Looking Out ? 

Blumenthal. 
Angels Ever Bright and Fair. 

Tucker. 

Annie Laurie Tucker. 

My Pretty Jane Bishop. 

Distant Land Henslett. 

Dream of Love Rod well. 

I Love and I am Beloved. .Richard. 

Xenia Lutz. 

On the Mountains Benedict. 

Oh, Waly, Waly, Up the Bank. 

Blumenthal. 

The Birds were Telling One 

Another Smart. 

Come Sit Thee Down Sinclair. 

The Standard Bearer. .Lindpainter. 

Shells of Ocean Cherry. 

Isle off Beauty, Fare Thee Well. 

Bajley. 

Bloom Again, Sweet Prison 

Flower Young. 



No* Oontpotet, 

137. Ever of Thee HalU 

138. As I'd Nothing Else to Do. 

Hatton, 

139. Grieve Not for Me Wrighton. 

140. I Cannot Sing the Old Songs. 

Claribel. 

141. Why Do Summer Roses Fade? 

Barker. 

144. I Cannot Mind my Wheel, 

Mother Llnley. 

145. Araby's Daughter. Kiallmark. 

146. Young Jenny Allen. 

147. O Fair Dove ! O Fond Dove X 

Gatty. 

148. Oh, Keep Me in Your Memory. 

Glover. 

158. Upon the Danube River. ..Tucker. 
154. Just Touch the Harp Gently, My 

Pretty Louise Blamphin. 

159. When the Corn is Waving. 

Annie Blamphin. 

16©. Love's Secret Tucker. 

183. When my Ship Comes Home. 

Lee. 

164. Bird on the Tree Ni*h. 

165. Yeoman's Wedding Song, 

Poniatowski. 

166. Linden Walta Aide. 

167. Michael Bray Philp. 

168. Lover's Pen Poniatowski. 

169. Eily's Reason Molloy. 

no. With the Stream. Tours. 

174. Out in the Cold. Bagnall. 

ITS. The Washing Cap Wrighton. 

178. The Island of Green. 

Arranged by Tucker. 

188. Meeting in Heaven Wrighton. 

188. Jenny off the Mill. Leduc 

186. Esmeralda Levey. 

196. Heavenly Golden Shore ."Rosenthal. 

197. Don't You Remember, Love ? 

Lawrenca. 

198. Hark! the Drum Nlsh. 

800. Anita the Chieftain's Wife). 

Richards. 



OPERATIC SONGS. 



lO. Little Blue Butterfly Herve. 

87. Loving Daughter's Heart Balfe. 

89. Paradise off Love Balfe. 

69. O Rare Malvoisie! Offenbach. 

71. Light off Other Days Balfe- 

73. Rhotomago's Partner Fair. 

Offenbach. 
77. Ah! 'What a Fate! Offenbach. 

88. Then You'll Remember Me. Balfe. 

81. Turtle Doves Offenbach. 

83. 'Tis Sad to Leave Our Father. 

land Balfe. 



84. On Yonder Rock Reclining... Auber. 

85. Walk Up Now, This is No Hum- 

bug. 
89. Song off the Tight Rope Dancer. 

Offenbach. 
93. These Aching Teeth Offenbach. 

97. Painted so Fine— Eyes Divine. 

Offenbach. 

99, Anvil Chorus YerdL 

lOl. Fool. You may Say it iff You 
Please Offenbach. 



tfo. Composer. 

105. Oh, Flowers so Fair and Sweet. 

Offenbach. 

lOS. Mignon Thorn as. 

£09. Pleased with Myself... . .Offenbach. 

Iff. Heart Bowed Dowc Balfe. 

1 12o Young Agnes, Beauteous 

Flower Auber. 

1 13. I Dreamt I Dwelt iu Marble 

Balls. Balfe. 

IIS. Her Gentle Voice Expressed, etc. 

Balfe. 




No. Composer. 

119, The Tempest of the Heart. .Verdi. 
ISO. Why Linger, Mourner Memory? 

Mellow. 
121o List to the Gay Castanet ....Balfe. 

126. The Ball , Thomas. 

143. My Own, My Guiding Star. 

Macfarren. 

143, Ah! So Pure Flotow. 

155. Where shall I Take my Bride ? 

Heme. 



COMIC AND SERIO COMIC SONGS. 



f « Pretty Polly, if you Love Me. 

Coote. 

2. Fisherman's Daughter Bagnall. 

4. I'll Tell Your Wife Egerton. 

*3. Up in a Balloon Hunt. 

O. Captain Jinks Haclagan. 

11. Champagne Charlie Lee 

12. Thady O'Flynn Molloy. 

13. Tassels on the Boots Tucker. 

15. Tommy Dodd Clirke. 

IT. That's the Stylo for Mo Young. 

18. Pretty Little Flora Leyborne. 

1». Bother the Men Walker 

22. I W^sh I was a Fish Hunt. 

24. Put it Down to Me Gatty. 

28. Oh, Wouldn't You Like to Know? 

Musgrave. 

39. Whore is ny Nancy? Hunt. 

33. Imm«nseikon* Lloyd. 

38. Good-bye, John; or. Chickabiddy. 

40. Beau of Saratoga Vance. 

42. IVoi /or Joseph Lloyd . 

44. California Gold Hunt. 

48. Susan, Susan, Pity my Confusion. 

Burn am. 
SO. Walking in the Park Lee. 

52. Bell Goes a-Biugiag for Sa-i-rah. 

Hunt. 

53. Call Her Back and Kiss Her. 

Minasi. 

56. Flying Trapeze Lee. 

58. It's Nice to be a Father. .. .Hunt. 



66, 

6t 

68, 
96, 

151. 
153. 

15G. 

157. 
158. 
162. 
171. 
1"?2. 
173. 
176. 
181. 
183. 
184. 
185. 
189. 

199. 
191. 

192. 
193. 

194. 



. She Danced Like a Fairy. .Dudley. 
. I Never Go East of Madison 
Square. 

, Lancashire Lass Williams. 

, Bowing Home in the Morning. 
Edgerton. 
If Ever I Cease to Love. .Leybourne. 
His Heart was True to Poll. 

Tucker. 
I'm a Timid, Nervous Man. 

Cherry. 
Bhein Wine Sharley. . .Leybourne. 

Heathen Chinee Tucker. 

Housekeeper's Woes.... .Fechter. 
Down in a Coal Mine. . .Geoghegan. 

Dolly Varden Lee. 

Little Coquette Lee. 

Good-bye, Charlie Hunt. 

Bom ! Bom ! BomS Hunt. 

Modern Times Coote. 

The Hardware Line Banks. 

•Tack's Present. Byron. 

When the Band Begins to Play. 

Hunt. 
XJpon the Grand Parade. . .Davies. 
Ada with the Golden Hair. 

G. W. M. 

Awfully Clever Hunt. 

Perhaps She's on the Railway. 

McCarthy. 

Mother Says I Mustn't Hunt. 



MOTTO SONGS. 



34. Way of the World Ellery. 

36. It's All the Same to Sam... Hunt. 
46. It's Better to Laugh than to Cry. 

Clifton. 
54. On, Boys, On, the Course is 

Always Clear Fetchet. 

60. Act on the Square, Boys Lee. 

177. A Bit of my Mind Bell. 

179. An Old Man's Advice Tinney. 

187. Up and be Doing Smith. 

188. Ten Minutes Too Late Clifton. 



195. Would You be Surprised ?. .Coote. 
199. O'Donnell Aboo Morine. 



149. Popular Airs for Little Fingers, 

No. 1. Walking iu the Park ; Beautiful 

Bells. 
Popular Airs for Little Fingers, 

No. 2. Captara Jinks ; Tapping at the 

Garden Gate. 
Berger Family «« Bells Mazurka." 



15*. 



161. 



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